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The Marsic Confederation
Lot # 413 - The Bellum Sociale, 90-88 BC. AR Denarius, Corfinium mint, c. 90 BC. Obv. Laureate head of Italia left, wearing earring and necklace; behind, ITALIA upward. Rev. Oath-taking scene: youth kneeling at the foot of a standard and holding pig, at which eight soldiers (four each side) point their swords; in exergue, II and dot. Campana 38; HN Italy 415/c. AR. 3.54 g. 20.00 mm. RR. Very rare and choice for issue. Sound metal, broad flan and lovely even grey toning, with golden hues. Good VF. Marcus Livius Drusus, who was Tribune of the Plebeians in 91 BC, attempted to bring Roman citizenship to the Italian allies. This, along with his land reform proposals, proved unpopular with the Senate and Roman landowners and he was assassinated before his plans were brought to fuition. With the promise of citizenship rights removed, a rebellion of the Italic allies began which came to be known as the Social War (cf. Livy, Periochae 71), from the Latin ‘socii’ (allies), thus in Latin: Bellum Sociale - the War of the Allies. During this conflict, the allies of the Marsic confederation (the Marsi, Peligni, Piceni, Vestini, Samnites, Frentani, Marrucini, and Lucani) struck coins which were often inspired by the types found on Roman denarii, with some detailing the names of the rebel generals. This was to be the last struggle of the Italic allies for independence against the dominant leadership of Rome; the coins not only helped pay for the troops, but were also used as propaganda against Roman overlordship. The circulation of these coins continued even after the conflict ended, and were used alongside their republican models. (Roma Numismatics XVIII, 2019, lot 842 note).
Lot # 414 - The Bellum Sociale, 90-88 BC. AR Denarius, Corfinium mint, c. 90 BC. Obv. Laureate head of Italia rught, wearing earring and necklace; behind, ITALIA downwards. Rev. Oath-taking scene: youth kneeling at the foot of a standard and holding pig, at which eight soldiers (four each side) point their swords; in exergue, I and dot. Campana 56 (this coin); HN Italy 423. AR. 3.94 g. 18.50 mm. RR. Very rare, perfectly centred and superb. Sound metal, broad flan and lovely bright tonng with golden hues. Minor flatness areas, otherwise. good VF/About EF. Ex NAC F, 1996, 1356 (misdescribed as Campana 55). Published in Campana, La monetazione degli insorti Italici durante la Guerra Sociale (91-87a.C), 1987, 56. Marcus Livius Drusus, who was Tribune of the Plebeians in 91 BC, attempted to bring Roman citizenship to the Italian allies. This, along with his land reform proposals, proved unpopular with the Senate and Roman landowners and he was assassinated before his plans were brought to fuition. With the promise of citizenship rights removed, a rebellion of the Italic allies began which came to be known as the Social War (cf. Livy, Periochae 71), from the Latin ‘socii’ (allies), thus in Latin: Bellum Sociale - the War of the Allies. During this conflict, the allies of the Marsic confederation (the Marsi, Peligni, Piceni, Vestini, Samnites, Frentani, Marrucini, and Lucani) struck coins which were often inspired by the types found on Roman denarii, with some detailing the names of the rebel generals. This was to be the last struggle of the Italic allies for independence against the dominant leadership of Rome; the coins not only helped pay for the troops, but were also used as propaganda against Roman overlordship. The circulation of these coins continued even after the conflict ended, and were used alongside their republican models. (Roma Numismatics XVIII, 2019, lot 842 note).
Lot # 418 - The Bellum Sociale, 90-88 BC. AR Denarius, Corfinium mint, c. 89 BC. Obv. Laureate and draped bust of Italia right; ITALIA downwards behind, XVI upwards before. Rev. Victory standing left, crowning Italia seated to left on three stacked shields, holding spear and sword; [Latin letter in exergue]. Campana 115; HN Italy 414. AR. 3.69 g. 17.00 mm. RR. Very rare and choice for issue. Lovely bright old cabinet tone. VF. Ex NAC Autumn Sale 95, 1995, 321. The question of the aims and motives of the Italian states who rebelled against Roman rule in the Social War of 91-87 BC has been a subject of much debate in historical discourse, which coalesced into two polarised arguments, which assert that either they were motivated by a desire for citizenship and inclusion within the Roman state, or, alternatively, it was a desire for independence from, and ultimate destruction of, that state. Scholars have often viewed the ultimate enfranchisement of the rebel Italian states as indication that the rebels sought only Roman citizenship, an interpretation reinforced by the Romano-centric commentary of ancient historians such as Diodorus Siculus, Velleius Paterculus, Appian and Cicero. However, the formation of an Italian league and the construction of a new political centre at Corfinium, dubbed 'Italica', with its own senate, suggests a genuine and long-standing desire for independence, despite the fact that it was conceived with an almost identical political structure to Rome. Numismatic evidence supports this idea: while minting a substantial new coinage was a firm assertion of authority, it was still minted along Roman models, denominations and types, often, as in this case, simply replacing a personification of Rome with that of Italy, and the minting authority 'ROMA' with a Latin inscription 'ITALIA' proclaiming the new state. The reverse type of Victory crowning Italia emphatically demonstrates opposition to Rome, yet however revolutionary, these coins were compatible with and intended for use within the Roman system. Pobjoy has remarked upon the use of different languages on rebel coinage, interpreting the use of Latin script as another demonstration of the reliance on Roman models due to the fact that, ironically, Latin was the principle language of the Italian rebel states. It was often combined with Oscan (such as on lot 734), the language of the states who had historically formed the core of resistance against Rome since the fourth century BC, the use of which is 'best seen as a direct assertion of non-Roman identity', since it held resonant associations of independence after its appearance on the coinage of the rebel Italian states who joined Hannibal in the Punic wars (Pobjoy 2000, p.200).
The only Perenna's Portrait from Ancient World.
Lot # 436 - C. Annius with L. Fabius L. f. Hispaniensis. AR Denarius, 82-81 BC. Obv. C. ANNI. T. F. T. N. PRO. COS. EX. S.C. Diademed and draped bust of Anna Perenna right; behind, caduceus; below chin, scales; below bust, uncertain symbol. Rev. Victoria in galloping quadriga right; above, Q; in exergue, L. FABI. L. F. HISP. Cr. 366/1a; B. 2. AR. 3.92 g. 18.00 mm. An outstanding example, well centred on a broad flan and complete. Brilliant, superb and lightly toned. Very rare as such. Good EF. Anna Perenna was a Roman divinity, the legends about whom are related by Ovid and Virgil. According to them she was a daughter of Belus and sister of Dido. After the death of the latter, she fled front Carthage to Italy, where she was kindly received by Aeneas. Here her jealousy of Lavinia was roused, and being warned in a dream by the spirit of Dido, she fled and threw herself into the river Numicius. Henceforth she was worshiped as the nymph of that river under the name of Perenna, for previously her name had simply been Anna. A second story related by Ovid states, that when the plebs had seceded to the mons sacer and were in want of food, there came from the neighboring Bovillae an aged woman of the name of Anna, who distributed cakes among the hungry multitude, and after their return to the city the grateful people built a temple to her. A third story, likewise related by Ovid, tells us that, when Mars was in love with Minerva, he applied to the aged Anna to lend him her assistance. She appeared before him herself in the disguise of Minerva, and when the god took hold of her veil and wanted to kiss her, she laughed him to scorn. Ovid remarks that Anna Perenna was considered by some as Luna, by others as Themis, and by others again as Io, the daughter of Inachus, or as one of the nymphs who brought up the infant Jove. Now as Macrobius states, that at her festival, which fell on the 15th of March, and was celebrated by the Romans with great joy and merriment, the people prayed ut annare perennareque commode liceat, it seems clear that Anna Perenna was originally an Italian divinity, who was regarded as the giver of life, health, and plenty, as the goddess whose powers were most manifest at the return of spring when her festival was celebrated. The identification of this goddess with Anna, the sister of Dido, is undoubtedly of late origin. (Encyclopedia Mythica).
Not Intended Erato
Lot # 463 - Q. Pomponius Musa. AR Denarius, 66 BC. Obv. Laureate head of Apollo right; behind, plectrum. Rev. Erato standing right, right arm lowered, holding lyre and plectrum; Q. POMPONI on left, MVSA on right. Cr. 410/7d (as Terpsichore); B. 17 (as Terpsichore); Banti Pomponia 20; Phillip Davis, p. 395, fig. 11.. AR. 3.75 g. 18.50 mm. R. Rare, lustrous and superb. Some surfaces bums on obverse and minor flatness on reverse, both insignificant and beside the border, otherwise. good EF/EF. Is our opinion – according to Banti, pace Babelon and Crawford – that in this series the obverse symbol plectrum (often interpreted, in error, as “a flower”) identifies in any case the Musa Erato, while only the symbol tortoise identifies the Musa Terpsichore. Inexplicably this type, correctly interpreted by Admiral William Smith already in 19th century (Descriptive Catalogue of a Cabinet of Roman Family Coins Belonging to the Duke of Northumberland, London 1856) was misdescribed (as representing Terpsichore) by Babelon and by later numismatic autorities, Crawford included. In 1980 A. Banti (CNR, vol. 7, pp. 187-210) was the first author – since W. Smith – to assign all the “plectrum coins” to Erato and only the “tortoise coins” to Terpsichore. For a more detailed explanation of the question, see the excellent essay of Phillip Davis “Erato or Terpsichore; A Reassessment” in Fides, The American Numismatic Society, New York 2015. Davis admirably says : “The muddle of Erato and Terpsichore dies very hard. No pun intended.” Erato was the Muse of Erotic Poetry.