Le più belle rappresentazioni di guerrieri

[King John]

Classical Numismatic Group, Inc.

Mail Bid Sale 61, lot 1064, 25/09/2002

PHOENICIA, Tyre. Valerian I.
Estimate $750
PHOENICIA, Tyre. Valerian I. 253-260 AD. Æ 28mm (13.04 gm). Radiate, draped and cuirassed bust right / "Dido building Carthage" - Dido standing left holding sceptre and cubit rule; to the left a mason working on the top of a gateway, below a man digging with a pick. J. Rouvier, "Numismatique des villes de la Phénicie: Tyr," JIAN (1904), pg. 99, 2501; Babelon, Les Perses, 2316. Good VF, dark brown patina under a dusty earthen encrustation. Rare and interesting. ($750)

ILLUSTRAZIONE: ENEA ABBANDONA DIDONE

[King John]

Agora Auctions

Sale 74, lot 116, 5/06/2018

Roman Provincial 
Phrygia, Flavia-Grimenothyrae. Pseudo-autonomous issue, time of Trajan. A.D. 98-117. AE 19 (19 mm, 5.33 g). Tullius, magistrate. Є-ΠI Λ TVΛΛIOV, laureate head of Zeus right / ΓPIMЄNO-ΘVPЄΩN, Athena standing facing, head right, holding scepter and resting on shield set on ground. Von Aulock, Phrygien 354-6. VF, black-green, smooth patina, well centered and struck.
From the Tom Buggey Collection.
ex Numismatik Naumann Auction 40, lot 457

ILLUSTRAZIONE: LA NASCITA DI ATENA DALLA TESTA DI ZEUS RAFFIGURATA SU ALCUNI VASI DEL V SECOLO A.C.

[King John]

Raffigurazioni moderne della nascita di Atena dalla testa di Zeus.

[eracle62]

Il 31/8/2018 alle 12:44, King John dice:

Classical Numismatic Group > Triton XI	Auction date: 8 January 2008
Lot number: 478 Price realized: 7,000 USD   (Approx. 4,757 EUR / 3,547 GBP / 7,806 CHF)
Lot description: TROAS, Antandrus. Severus Alexander. AD 222-235. Æ Medallion (38mm, 35.17 g, 6h). AVTOKPA KAI M AVP CЄOVHPOC AΛЄΞANΔPOC, laureate, draped, and cuirassed bust right / EPI TRA AVP[...], ANTANΔPIΩN in exergue, Aeneas advancing right, head left, leading Ascanius by the hand, and holding Anchises on his shoulder; stern of galley to right. Cf. C. Fontana, “Note su alcune monete inedite o poco conosciute della serie urbica greca coniate durante l’Impero Romano,” RIN 1967, 18 (for similar issue of Caracalla). Good VF, dark brown patina, some roughness, slight doubling on reverse. Unpublished and unique.  According to Vergil (Aeneid, Book 2), Aeneas, the son of the goddess Venus and the Trojan Anchises, fled with some remnants of the inhabitants of Troy as it fell to the Greeks, taking with him his son, Ascanius, his elderly father, Anchises, and the Palladium, or ancient sacred statue of Athena. The Trojans eventually made their way west to resettle in Italy. There they intermarried with the local inhabitants and founded the town of Lavinium, and thereby became the nucleus of the future Roman people. One of the descendants of Aeneas’ son Ascanius (known now as Iulus) was Rhea Silvia. Impregnated by the god Mars, she gave birth to the twins, Romulus and Remus. Exposed by their great-uncle, Amulius, the twins were suckled by a she-wolf, but they were eventually rescued. Romulus later founded the city of Rome, and consequently the image of the she-wolf and the twins became the symbol of that city. The mythological depictions on this coin reinforce the importance of Ilium, not only as the seedbed of the future Roman people, but also as the mother city of the future caput mundi.  Estimate: 5000 USD ILLUSTRAZIONE: Enea, Ascanio e Anchise in fuga da Troia in fiamme , Olio su tela di  Pompeo Girolamo Batoni (1748).

A i medaglioni che passione, e poi il pittore Neoclassico Batoni, omaggiamolo..

Eracle al bivio, chissà di quale bivio si parla...

                                              

                                               Pompeo Batoni – Ercole al bivio

[King John]

 

Agora Auctions

Sale 60, lot 122, 9/08/2016

Pisidia, Sagalassos. Philip II. A.D. 247-249. AE 28 (27.6 mm, 10.50 g, 12 h). AV K MA IOV ΦIΛIΠΠOVC, laureate, draped, and cuirassed bust right / CAΓΑΛACCEΩN, Lacedemon, helmeted and in military dress, standing left, holding Nike on a globe and spear. SNG France 1821; SNG von Aulock 5191. Fine. Scarce.

ILLUSTRAZIONE: Lacedemone (il personaggio raffigurato al riovescio della moneta), figlio di Zeus e della Pleiade Taigete. Lacedemone sposò Sparta, figlia di Eurota, dalla quale ebbe un figlio Amicla, e una figlia, Laila. Fu re della Laconia e fondò Sparta, chiamata anche Lacedemone.

 

 

[dabbene]

Ragazzi leggete qui, che vi fate una cultura, figlio di Zeus...fondo’ Sparta, il tutto diventa sempre più avvincente e appassionante ...

[King John]

Una passione antica:

https://www.academia.edu/24762258/Raffigurazioni_di_guerrieri_sulle_monete_greche

https://www.academia.edu/24761105/Eroi_greci_e_monete

[King John]

Numismatica Ars Classica NAC AG

Auction 72, lot 572, 16/05/2013

The Roman Empire
Octavian as Augustus, 27 BC – 14 AD
Denarius, Colonia Patricia (?) circa 18-17/16 BC, AR 3.68 g. Bare head l. Rev. AVGVSTVS Zephyr (?) radiate hovering r. horizontally, holding outstretched veil; below, capricorn r. with oar. C 15. BMC 349. RIC 124. CBN 1358. Extremely rare and a very interesting reverse composition. An almost invisible scuff on obverse and metal somewhat porous, otherwise good very fine This denarius from a mint in Spain, perhaps Colonia Patricia, ranks among the great rarities in the Augustan series. We are fortunate that this example is well preserved, for it reveals that the mythical figure floating above the capricorn is a male – something that heretofore has not been known with certainty. Specimens tend to be heavily worn, and in most references the figure is described as female, or, at best, with uncertainty. If a female, the figure would likely be Eos or Aurora, goddesses often who in various traditions represented the dawn, or the morning wind. Following this, Mattingly suggested Aurora alluded to the hour of Augustus’ birth since it appears above the capricorn (the emperor’s birth sign) and Augustus was born just before the sunrise on September 23, 63 B.C. However, this clear example renders that attractive theory impossible. Instead we must identify the figure as Zephyrus, a son of Eos, who symbolized the west spring wind. He holds aloft a billowed scarf, though in some examples of Roman art (where he is identified with Favonius, representing the breeze of springtide) he is shown bearing flowers in the folds of his robe. The interpretation of this type now becomes more challenging. Since the denarius was struck c. 18-16 B.C. it may celebrate Augustus’ safe return in 19 B.C. to Rome after a three-year absence to Sicily, then Greece, and finally Asia. But if so, the god of the western wind would not have been the most appropriate allusion. We might consider, however, that since this coin was struck in Spain, the western wind might have been a more natural association even if it was not technically correct. Another possibility is that it heralds Augustus’ next absence from Rome, from 16 to 13 B.C.; however, that journey was to Gaul and Germany, and unless Augustus began his journey by sailing from Ostia to a Gallic port, such as Massalia, the type would not be relevant.

ILLUSTRAZIONE: Zefiro e Giacinto (kylix ateniese a figure rosse del V secolo a.C.). Zefiro era il vento che soffia da ponente. Innamoratosi del giovane principe spartano Giacinto, lo contese ad Apollo. Un giorno, accecato dalla gelosia, Zefiro deviò un disco lanciato dal dio, che colpì Giacinto, uccidendolo.

 

 

Modificato 2 Settembre, 2018 da King John

[King John]

Gemini, LLC

Auction II, lo 346, 11/01/2006

Trajan. (98-117 AD). Orichalcum sestertius (27.30 gm). Rome, AD 103-111. IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P P, bust laureate right, fold of cloak on shoulder in front and behind / S P Q R OPTIMO PRINCIPI S C, Trajan's Danube bridge, depicted as a single arching span between entrance and exit towers topped by statues; a boat in the river below. BMCRE 851. Cohen 542 (8 Fr.). RIC 569. Brown and green patina. Extremely fine. Published Collecting World Coins, Winter 2005/2006, Cover and page 19.
Estimate: US$6500

[King John]

Gerhard Hirsch Nachfolger

Auction 280, lot 4013, 9/02/2012

AVERNI. Quinar. Nach 52 v. Chr. Behelmte weibliche(?) Büste r. Rs: Krieger steht l. mit Feldzeichen, Speer und Schild, zu seinen Füßen Helm. Flesche 168. 1,76g. ss-vz

ILLUSTRAZIONE: LA BATTAGLIA DI ALESIA DEL 52 A.C. IN CUI CESARE SCONFISSE VERCINGETORIGE

[eracle62]

13 ore fa, dabbene dice:

Ragazzi leggete qui, che vi fate una cultura, figlio di Zeus...fondo’ Sparta, il tutto diventa sempre più avvincente e appassionante ...

Io vivo tutti i miti, tutti gli episodi della storia, tutte le battaglie, io comunque vivo...

E questo che fa la differenza quando entro in questa sezione e leggo quello che il buon Federico ci omaggia ogni dì..

 

[eracle62]

Il 2/9/2018 alle 18:41, King John dice:

Numismatica Ars Classica NAC AG

Auction 72, lot 572, 16/05/2013

The Roman Empire
Octavian as Augustus, 27 BC – 14 AD
Denarius, Colonia Patricia (?) circa 18-17/16 BC, AR 3.68 g. Bare head l. Rev. AVGVSTVS Zephyr (?) radiate hovering r. horizontally, holding outstretched veil; below, capricorn r. with oar. C 15. BMC 349. RIC 124. CBN 1358. Extremely rare and a very interesting reverse composition. An almost invisible scuff on obverse and metal somewhat porous, otherwise good very fine This denarius from a mint in Spain, perhaps Colonia Patricia, ranks among the great rarities in the Augustan series. We are fortunate that this example is well preserved, for it reveals that the mythical figure floating above the capricorn is a male – something that heretofore has not been known with certainty. Specimens tend to be heavily worn, and in most references the figure is described as female, or, at best, with uncertainty. If a female, the figure would likely be Eos or Aurora, goddesses often who in various traditions represented the dawn, or the morning wind. Following this, Mattingly suggested Aurora alluded to the hour of Augustus’ birth since it appears above the capricorn (the emperor’s birth sign) and Augustus was born just before the sunrise on September 23, 63 B.C. However, this clear example renders that attractive theory impossible. Instead we must identify the figure as Zephyrus, a son of Eos, who symbolized the west spring wind. He holds aloft a billowed scarf, though in some examples of Roman art (where he is identified with Favonius, representing the breeze of springtide) he is shown bearing flowers in the folds of his robe. The interpretation of this type now becomes more challenging. Since the denarius was struck c. 18-16 B.C. it may celebrate Augustus’ safe return in 19 B.C. to Rome after a three-year absence to Sicily, then Greece, and finally Asia. But if so, the god of the western wind would not have been the most appropriate allusion. We might consider, however, that since this coin was struck in Spain, the western wind might have been a more natural association even if it was not technically correct. Another possibility is that it heralds Augustus’ next absence from Rome, from 16 to 13 B.C.; however, that journey was to Gaul and Germany, and unless Augustus began his journey by sailing from Ostia to a Gallic port, such as Massalia, the type would not be relevant.

ILLUSTRAZIONE: Zefiro e Giacinto (kylix ateniese a figure rosse del V secolo a.C.). Zefiro era il vento che soffia da ponente. Innamoratosi del giovane principe spartano Giacinto, lo contese ad Apollo. Un giorno, accecato dalla gelosia, Zefiro deviò un disco lanciato dal dio, che colpì Giacinto, uccidendolo.

 

 

Come faccio a non emozionarmi... d'innanzi ad un tondello, ad un racconto e a una raffigurazione come questa..

Modificato 4 Settembre, 2018 da eracle62

[King John]

Classical Numismatic Group, Inc.

Triton VII, lot 747, 12/01/2004

BITHYNIA, Nicomedia. Valerian I, Gallienus and Valerian II. 256-258 AD. Æ 26mm (10.16 gm).
Estimate $1500
BITHYNIA, Nicomedia. Valerian I, Gallienus and Valerian II. 256-258 AD. Æ 26mm (10.16 gm). AVT OUALERIANOC GALLHNOC OUALERIANOC KAIC CEBBB, confronted radiate busts of Valerian and Gallienus, small bare-headed bust of Valerian II between / NIKOMHDEWN TPIC NEWKORWN, the three neocorate temples of Nicomedia situated around central altar with serpent. Waddington RG, 407; BMC Pontus -; SNG Copenhagen -; SNG von Aulock 860 (same dies). Good VF, glossy emerald green patina. ($1500)
The acclamation of Valerian II as Caesar in 256 AD, provided the Empire with a third ruler, in addition to the already existent Augusti, Valerian’s father Gallienus and grandfather Valerian I. To commemorate the occasion, Nicaea and Nicomedia produced special coinages with the theme of "three:" three rulers on the obverse, and three civic symbols on the reverse. In both cases the obverses show the confronted busts of the co-emperors Valerian I and Gallienus, with the young Caesar Valerian II between them. The arrangement was carefully considered: Valerian I, as senior emperor occupied the position of honor at the left; both he and Gallienus as Augusti are radiate, while the young Caesar remained bare-headed. The reverse follows a similar pattern of ‘three’: three temples at Nicomedia. Provincial cities competed aggressively with each other to gain special permission from Rome to build temples dedicated to the emperor; upon earning these honors the cities attained neokorate status. The most famous and prosperous cities accumulated this honor two or more times. Nicomedia was especially fortunate, since it attained such status three times.

[King John]

The New York Sale

Auction XXVII, lot 403, 4/01/2012

The Prospero Collection of Ancient Greek Coins. CRETE. Gortyna (c.280-260 B.C.), Silver Half Stater, 6.80g,. Europa, naked to waist and wearing a peplos over her lower limbs, seated three-quarters to right in a plane tree, her head facing, holding out her veil with her left hand and resting her right hand on the tree, an eagle standing to left on her left, its head turned back towards her. Rev. ΓOPTY-N[...] , bull standing to left, its head turned to look back (cf. BMC 40, pl. XI, 4 = Le Rider, pl. XLII, 12, var.; Svoronos 104; SNG Lockett 2562 var.; SNG Copenhagen 446 var.). Lightly toned over lustre, well-struck, extremely fine and extreme ly rare. US$ 8,000

ILLUSTRAZIONE: EUROPA TRASPORTATA A CRETA DA ZEUS, TRASFORMATOSI IN TORO.

Nella mitologia greca, Europa è figlia di Agenore, re di Tiro, antica città fenicia. Zeus, re dell’Olimpo, tradizionalmente famoso per i modi ingegnosi che escogita per sedurre le fanciulle di cui si invaghisce, decide di rapire Europa e si trasforma per questo in uno splendido toro bianco. La fanciulla, mentre coglie i fiori in riva al mare, lo vede avvicinarsi, è coperto da candido vello, è mansueto e si lascia accarezzare da lei, che senza alcun timore si siede sulla sua groppa ma l’animale all’improvviso si tuffa in mare e la conduce sino a Creta, ove finalmente appaga il suo desiderio all’ombra di un albero secolare. Dalla loro unione nascono tre figli: Minosse, Sarpedonte e Radamanto. Minosse, “dopo avere sottomesso i fratelli, estende il proprio dominio da Creta alle Cicladi e a gran parte del Peloponneso” e dà vita alla civiltà cretese, culla della civiltà europea.

Le prime tracce del mito risalgono ai tempi di Omero. Nell’Iliade Zeus confessa a Era, sua consorte, di aver avuto tanti amori tra i quali “Europa, la giovane figlia del glorioso re fenicio. Anche in un frammento di Esiodo si parla dell’amore di Zeus per questa fanciulla. Il Dio si trasforma in un toro che dalle narici spira croco; ingannando in tal modo Europa, la prende sul suo dorso, la portata a Creta e si unisce a lei”. Si citano poi i tre figli nati da quell’unione.

Nella trasmissione del mito si sono verificati arricchimenti e varianti, una di queste narra che Zeus, per avvicinarsi alla fanciulla, prima si trasforma in toro poi in aquila. A testimonianza di ciò ci sono monete del V-IV secolo a. C che mostrano su un lato Europa seduta davanti a un toro, nell’altro su un albero con Zeus sotto forma di aquila.

Modificato 3 Settembre, 2018 da King John

[King John]

T. Didius AR Denarius. Rome, 113-112 BC. Helmeted head of Roma right, XVI monogram below, monogram of ROMA behind / Two soldiers fighting, one attacking with a whip, the other defending with a sword, T. DEIDI in ex. Didia 2; Crawford 294/1; Sydenham 550. 3.94g, 20mm, 3h.

http://romanumismatics.com/articles/article/roman-republic-t.-didius-the-electorates-propaganda/

ILLUSTRAZIONE: SPARTACO

[VALTERI]

Ancora la dea guerriera Atena, in armi in atto di scagliare un fulmine .

Dal rovescio di  un estremamente raro, unico in mani private di soli 3 esemplari noti, doppio decadramma in oro ( 310-304 , 8,48 g. ) emesso da Agatocle di siracusa probabilmente dopo la sua avventura in Africa contro Cartagine .

Interessante anche il diritto con raffigurata una testa coperta da spoglia elefantina .

Passerà in asta NAC 110 al lotto 18 il prossimo 24 Settembre .

 

[King John]

8 minuti fa, VALTERI dice:

Ancora la dea guerriera Atena, in armi in atto di scagliare un fulmine .

Dal rovescio di  un estremamente raro, unico in mani private di soli 3 esemplari noti, doppio decadramma in oro ( 310-304 , 8,48 g. ) emesso da Agatocle di siracusa probabilmente dopo la sua avventura in Africa contro Cartagine .

Interessante anche il diritto con raffigurata una testa coperta da spoglia elefantina .

Passerà in asta NAC 110 al lotto 18 il prossimo 24 Settembre .

 

Questa splendida moneta è stata venduta nel 2012 alla ragguardevole somma di 95.000 CHF...

https://www.sixbid.com/browse.html?auction=383&category=7459&lot=349873

[King John]

La spoglia di elefante sulle monete dei successori di Alessandro il Grande.

[King John]

Alessandro contro il re indiano Poro, decadrammo detto 'di Poro' emesso da Alessandro, 326-323 a.C.

[eracle62]

15 ore fa, King John dice:

The New York Sale

Auction XXVII, lot 403, 4/01/2012

The Prospero Collection of Ancient Greek Coins. CRETE. Gortyna (c.280-260 B.C.), Silver Half Stater, 6.80g,. Europa, naked to waist and wearing a peplos over her lower limbs, seated three-quarters to right in a plane tree, her head facing, holding out her veil with her left hand and resting her right hand on the tree, an eagle standing to left on her left, its head turned back towards her. Rev. ΓOPTY-N[...] , bull standing to left, its head turned to look back (cf. BMC 40, pl. XI, 4 = Le Rider, pl. XLII, 12, var.; Svoronos 104; SNG Lockett 2562 var.; SNG Copenhagen 446 var.). Lightly toned over lustre, well-struck, extremely fine and extreme ly rare. US$ 8,000

ILLUSTRAZIONE: EUROPA TRASPORTATA A CRETA DA ZEUS, TRASFORMATOSI IN TORO.

Nella mitologia greca, Europa è figlia di Agenore, re di Tiro, antica città fenicia. Zeus, re dell’Olimpo, tradizionalmente famoso per i modi ingegnosi che escogita per sedurre le fanciulle di cui si invaghisce, decide di rapire Europa e si trasforma per questo in uno splendido toro bianco. La fanciulla, mentre coglie i fiori in riva al mare, lo vede avvicinarsi, è coperto da candido vello, è mansueto e si lascia accarezzare da lei, che senza alcun timore si siede sulla sua groppa ma l’animale all’improvviso si tuffa in mare e la conduce sino a Creta, ove finalmente appaga il suo desiderio all’ombra di un albero secolare. Dalla loro unione nascono tre figli: Minosse, Sarpedonte e Radamanto. Minosse, “dopo avere sottomesso i fratelli, estende il proprio dominio da Creta alle Cicladi e a gran parte del Peloponneso” e dà vita alla civiltà cretese, culla della civiltà europea.

Le prime tracce del mito risalgono ai tempi di Omero. Nell’Iliade Zeus confessa a Era, sua consorte, di aver avuto tanti amori tra i quali “Europa, la giovane figlia del glorioso re fenicio. Anche in un frammento di Esiodo si parla dell’amore di Zeus per questa fanciulla. Il Dio si trasforma in un toro che dalle narici spira croco; ingannando in tal modo Europa, la prende sul suo dorso, la portata a Creta e si unisce a lei”. Si citano poi i tre figli nati da quell’unione.

Nella trasmissione del mito si sono verificati arricchimenti e varianti, una di queste narra che Zeus, per avvicinarsi alla fanciulla, prima si trasforma in toro poi in aquila. A testimonianza di ciò ci sono monete del V-IV secolo a. C che mostrano su un lato Europa seduta davanti a un toro, nell’altro su un albero con Zeus sotto forma di aquila.

Tutto affascinante e di una narrazione sublime per questo tondello, ma la cosa che mi entusiasma molto in questo esemplare è la sua modernità espressiva, potrebbe essere tranquillamente una medaglia di un'artista della seconda metà 900, come stile.. Penso a Fiume, a Greco o a Guttuso..

[King John]

Numismatica Ars Classica NAC AG

Auction 59, lot 955, 4/04/2011

The Roman Empire
Titus caesar, 69 – 79
Sestertius 80-81, Æ 25.92 g. Flavian amphitheatre (The Colosseum); on l., Meta Sudans and, on r., porticoed building. The exterior of the monument showing four tiers: the first with five empty arches; the second with six, all containing statues; the third, with seven arches containing statues; the fourth, with seven rectangular compartments containing globes and squares. Rev. IMP T CAES VESP AVG P M TR P P P COS VIII Titus seated l. on curule chair, holding branch and scroll; below, on either side, pile of arms. In field, S – C. C 400. BMC 190. RIC 184. Kent-Hirmer pl. 68, 239. CBN 189. Hedin 1594.
Very rare and among the finest specimens known of this of great fascination. Struck on a very
broad flan with an attractive Tiber tone and an exceptionally detailed obverse, flan crack
at eleven o’clock on obverse, otherwise and extremely fine / about extremely fine
The most famous monument of Italy – if not of all Europe – is the Amphitheatrum Flavium, the Colosseum in Rome. Named after the emperor Vespasian (A.D. 69-79), who began its construction in 71, it was Rome’s first permanent structure of the type, as all such events in Rome had previously been held in wooden structures.
Vespasian was still alive when the first three levels of his colosseum were completed and dedicated in 75. However, the final product – including the fourth and fifth levels, which are clearly represented on this sestertius – was not finished for five years, at which point it was formally dedicated by his eldest son Titus in June, 80.
The engraver went to great effort to represent the Colosseum in detail. Not only are the statues and other ornaments on the exterior shown with considerable clarity, but the interior is well represented down to the smallest features, such as spectators, staircases and what we must presume is the viewing box reserved for the emperor. Flanking the amphitheatre on the right is the Meta Sudans fountain and an uncertain structure that has been identified as the Baths of Titus, the porch of Nero’s Golden House (Domus Aurea), or perhaps a temple.
Various improvements were made to the Colosseum by later emperors, such as Trajan and Antoninus Pius, but little else is recorded until it was struck by lightening in 217. A conflagration resulted, and Dio reports that the damage was severe. Elagabalus began repairs in 218, and by 223 limited use of the amphitheatre was possible; it was at this point that the new emperor Severus Alexander celebrated its reopening.
Restoration was completed by 244, at the end of the reign of Gordian III, after which the amphitheatre was used well into the Christian era. We have reports of it being damaged by earthquakes in 442 and 470, and of further restorations in 508 and 523 by the Germanic occupants who had overthrown the Romans. However, no effort was made to restore it after an earthquake in 847.
From the numismatic perspective, the colosseum is among the least collectible of Roman monuments, for it only occurs on coinage three times – and in each instance the coins are famous rarities. It first appears on sestertii of Titus, the emperor under whom it was completed, and later on coins of Severus Alexander and medallions of Gordian III. The latter pieces are of unusual interest as the artist, in showing the monument from above, depicts a battle between wild beasts occurring within.

[King John]

Classical Numismatic Group, Inc.

781769.
Sold For $1250
PONTUS, Trapezus. Lucius Verus. AD 161-169. Æ 29mm (13.17 g, 6h). Dated CY 108 (AD 161). AVTAKPATωP OVHPOC CEBACT, bare head right / TPAΠEZOVTIΩN ETOV EPς, radiate and draped bust of Mithras right, wearing Phrygian cap, seen from behind; behind, head of horse right. RG 11; SNG Copenhagen -; SNG von Aulock -; Gorny & Mosch 129, lot 234 (same dies). Good VF, green patina. Very rare.
Mithras, the central god of the syncretic Hellenistic mystery religion known as Mithraism, was of Persian origin. There, known as Mithra, he served as a mediator between the supreme god Ahura-Mazda and humankind. His attributes were varied, but he soon became associated as a divinity of light and much of the symbolism of the mystery cult that developed around him is cosmologic. The chief participants of the cult were the military, attracted to the masculine aspect of the god and his selfless sacrifice to duty.

ILLUSTRAZIONE: CULTI MITRAICI A ROMA

Il Mitraismo è la religione del dio iranico e persiano Mithra quale si venne costituendo attraverso un lungo e complicato processo che, iniziatosi a Babilonia, si compì specialmente in Asia Minore al tempo della diaspora iranica (dopo la caduta dell'impero persiano degli Achemenidi nel 330 a. C.) e al contatto con l'ellenismo. Al sincretismo religioso iranico-babilonese (assimilazione del dio solare Mithra al babilonese Šamaš, il Sole) seguì un più accentuato sincretismo irano-ellenico di cui è documento cospicuo il monumento sepolcrale del re di Commagene Antioco I (69-34 a. C.) nella montuosa regione del Tauro, dove Mithra è identificato con Helios e con Apollo, Ahura Mazda (Oromasdes) con Zeus, Artagnes (l'avestico Verethraghna) con Eracle. Il risultato di questo processo fu la formazione di un mistero iranico analogo agli altri misteri orientali, ma sacro a un dio - Mithra - che non è un dio della vegetazione (non muore né risuscita), ciò che conferì un carattere particolare al mistero stesso e alla sua iniziazione (TRECCANI.IT)

 

Modificato 4 Settembre, 2018 da King John

[King John]

Numismatik Lanz München

Auction 55, lot 391, 19/12/2012

RÖMISCHE MÜNZEN
REPUBLIK
L. FURIUS BROCCHI
Denar, 63, Rom. III - VIR / BROCC[HI]. Drapierte Büste der Ceres mit Ährenkranz nach rechts, dahinter Ähre, davor Getreidekorn. Rs: L·FVRI / CN·F. Sella curulis zwischen zwei Fasces. Babelon, Furia 23; Cr. 414/1; Syd. 902. 3,89g. Getötn, fast vorzüglich/vorzüglich.

[dabbene]

4 ore fa, King John dice:

Numismatica Ars Classica NAC AG

Auction 59, lot 955, 4/04/2011

The Roman Empire
Titus caesar, 69 – 79
Sestertius 80-81, Æ 25.92 g. Flavian amphitheatre (The Colosseum); on l., Meta Sudans and, on r., porticoed building. The exterior of the monument showing four tiers: the first with five empty arches; the second with six, all containing statues; the third, with seven arches containing statues; the fourth, with seven rectangular compartments containing globes and squares. Rev. IMP T CAES VESP AVG P M TR P P P COS VIII Titus seated l. on curule chair, holding branch and scroll; below, on either side, pile of arms. In field, S – C. C 400. BMC 190. RIC 184. Kent-Hirmer pl. 68, 239. CBN 189. Hedin 1594.
Very rare and among the finest specimens known of this of great fascination. Struck on a very
broad flan with an attractive Tiber tone and an exceptionally detailed obverse, flan crack
at eleven o’clock on obverse, otherwise and extremely fine / about extremely fine
The most famous monument of Italy – if not of all Europe – is the Amphitheatrum Flavium, the Colosseum in Rome. Named after the emperor Vespasian (A.D. 69-79), who began its construction in 71, it was Rome’s first permanent structure of the type, as all such events in Rome had previously been held in wooden structures.
Vespasian was still alive when the first three levels of his colosseum were completed and dedicated in 75. However, the final product – including the fourth and fifth levels, which are clearly represented on this sestertius – was not finished for five years, at which point it was formally dedicated by his eldest son Titus in June, 80.
The engraver went to great effort to represent the Colosseum in detail. Not only are the statues and other ornaments on the exterior shown with considerable clarity, but the interior is well represented down to the smallest features, such as spectators, staircases and what we must presume is the viewing box reserved for the emperor. Flanking the amphitheatre on the right is the Meta Sudans fountain and an uncertain structure that has been identified as the Baths of Titus, the porch of Nero’s Golden House (Domus Aurea), or perhaps a temple.
Various improvements were made to the Colosseum by later emperors, such as Trajan and Antoninus Pius, but little else is recorded until it was struck by lightening in 217. A conflagration resulted, and Dio reports that the damage was severe. Elagabalus began repairs in 218, and by 223 limited use of the amphitheatre was possible; it was at this point that the new emperor Severus Alexander celebrated its reopening.
Restoration was completed by 244, at the end of the reign of Gordian III, after which the amphitheatre was used well into the Christian era. We have reports of it being damaged by earthquakes in 442 and 470, and of further restorations in 508 and 523 by the Germanic occupants who had overthrown the Romans. However, no effort was made to restore it after an earthquake in 847.
From the numismatic perspective, the colosseum is among the least collectible of Roman monuments, for it only occurs on coinage three times – and in each instance the coins are famous rarities. It first appears on sestertii of Titus, the emperor under whom it was completed, and later on coins of Severus Alexander and medallions of Gordian III. The latter pieces are of unusual interest as the artist, in showing the monument from above, depicts a battle between wild beasts occurring within.

Beh qui non vale siamo ai super top come simbologia e moneta , un must !

[eracle62]

10 ore fa, King John dice:

Classical Numismatic Group, Inc.

781769.
Sold For $1250
PONTUS, Trapezus. Lucius Verus. AD 161-169. Æ 29mm (13.17 g, 6h). Dated CY 108 (AD 161). AVTAKPATωP OVHPOC CEBACT, bare head right / TPAΠEZOVTIΩN ETOV EPς, radiate and draped bust of Mithras right, wearing Phrygian cap, seen from behind; behind, head of horse right. RG 11; SNG Copenhagen -; SNG von Aulock -; Gorny & Mosch 129, lot 234 (same dies). Good VF, green patina. Very rare.
Mithras, the central god of the syncretic Hellenistic mystery religion known as Mithraism, was of Persian origin. There, known as Mithra, he served as a mediator between the supreme god Ahura-Mazda and humankind. His attributes were varied, but he soon became associated as a divinity of light and much of the symbolism of the mystery cult that developed around him is cosmologic. The chief participants of the cult were the military, attracted to the masculine aspect of the god and his selfless sacrifice to duty.

ILLUSTRAZIONE: CULTI MITRAICI A ROMA

Il Mitraismo è la religione del dio iranico e persiano Mithra quale si venne costituendo attraverso un lungo e complicato processo che, iniziatosi a Babilonia, si compì specialmente in Asia Minore al tempo della diaspora iranica (dopo la caduta dell'impero persiano degli Achemenidi nel 330 a. C.) e al contatto con l'ellenismo. Al sincretismo religioso iranico-babilonese (assimilazione del dio solare Mithra al babilonese Šamaš, il Sole) seguì un più accentuato sincretismo irano-ellenico di cui è documento cospicuo il monumento sepolcrale del re di Commagene Antioco I (69-34 a. C.) nella montuosa regione del Tauro, dove Mithra è identificato con Helios e con Apollo, Ahura Mazda (Oromasdes) con Zeus, Artagnes (l'avestico Verethraghna) con Eracle. Il risultato di questo processo fu la formazione di un mistero iranico analogo agli altri misteri orientali, ma sacro a un dio - Mithra - che non è un dio della vegetazione (non muore né risuscita), ciò che conferì un carattere particolare al mistero stesso e alla sua iniziazione (TRECCANI.IT)

 

Questo tondello con tutti questi ritratti ( cavallo compreso ) non posso che preferirlo, e poi il mistero che aleggia..oltre che in esso...

Il mistero, fonte giornaliera di folli azioni..

Il mistero, inconsapevoli gesta di uomini o tali..

Il mistero, l'irriverenza umana..

Il mistero, il non accettare..

Il mistero, il non riconoscere..

Il mistero...tutto poi alla fine è un mistero, come quello che mi fa scrivere ogni sera..