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Banner Artemide LIX
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.
Impressive Romulus Quirinus
Lot # 475 - C. Memmius. AR Denarius, 56 BC. Obv. Laureate and bearded head of Romulus Quirinus right; before, C·MEMMI·C·F; behind, QVIRINVS. Rev. MEMMIVS·AED·CERIALIA·PREIMVS·FECIT. Ceres seated right, holding torch and corn ear; at her feet, snake. Cr. 427/2; B. (Memmia) 9. AR. 3.77 g. 19.00 mm. Great metal and broad flan. A superb example, perfectly centred and detailed, brilliant with underlying luster and golden hues. Good EF. The obverse relates to the claimed origin of the gens Memmia from the Trojan Menestheus, through Romulus. The reverse (as well the previous obverse) refers to the Institution at Rome of the Ludi Cereales, festivals celebrated at Rome in honour of Ceres. 'In B.C. 493 the worship of Demeter (under the name of the old Italian goddess Ceres) was introduced at Rome by the direction of the keepers of the Sibylline books, and a temple was built in her honour (aedes Cereris Liberi Liberaeque, usually called aedes Cereris) near the Circus Maximus. The ritual was entirely Greek, the priestesses were Greeks, and the prayers offered were in Greek . In connexion with this worship, games were instituted under the direction of the plebeian aediles. The festival was properly a plebeian one, but the patricians were invited to take part in it . At first the games were held only on extraordinary occasions , but afterwards they were celebrated annually from the 12th to the 19th of April, the last day being called especially the Cerialia. This spring festival was intended to commemorate the return of Proserpine to earth; hence all who took part in it were dressed in white. No bloody sacrifice was permitted, except that of a sow; the offerings consisted of cakes, honey, and incense. It was celebrated with games in the circus, but with no scenic representations before the time of Augustus. On the last day there was in the country a procession round the fields , in the town a procession to the circus'. (A Dictionary of Greek and Roman Antiquities. William Smith, LLD. William Wayte. G. E. Marindin. Albemarle Street, London. John Murray. 1890).
From Este Collection (?)
Lot # 480 - Man. Acilius Glabrio. AR Denarius, 49 BC. Obv. Laureate head of Salus right; behind, SALVTIS upwards; before neck, oval shallow impression where - very probably -Este countermark (eagle) was previously inlaid. Rev. MN ACILIVS III VIR VALETV. Valetudo standing left, leaning against column and holding serpent. Cr. 442/1a; B. 8. AR. 4.02 g. 19.00 mm. Outstanding state of preservation, with underlying luster. Intriguing circular space for inlay (?). This round fits with the prestigious eagle collector's mark of the Este Family, probably lost in antique. We are certain that the mark on the obverse field is not compatible with a banker's mark. Some weakness and light graffiti on obverse right field, otherwise. good EF. The silver eagle collector's mark previously inlaid 'on the obverse of this and a number of other Roman imperial coins has generated much speculation regarding its owner. Originating with Cavedoni (Atti e Memorie Accademia di Scienze, Lettere, ed Arti [1825]), who based his assumptions on an earlier statement of Maffei and the vague assertion of Eckhel, this mark was assigned to the d'Este family, a wealthy and powerful Renaissance family from the Emilia-Romana region of Italy, whose badge included an eagle. Such an attribution contradicted earlier numismatists, including Spanheim (Dissertationes de praestantia et usu Numismatum antiquorum [1717]), who asserted it was the mark of the Gonzagas, the rulers of Mantua, a city with an important ancient Roman connection (it had been the poet Vergil's birthplace). In 1433, the Holy Roman Emperor Sigismund granted Gian Francesco Gonzaga (1395-1444), the first Marquis, with the privilege of new coat-of-arms, which contained an imperial eagle badge. This device was included on the town's silver coinage for the next two centuries. Simonetta and Riva (QT VIII [1979]) revisited the controversy, concluding the mark was that of the Gonzaga family. Such a mark served to inventory the piece to their collection, which, from the extant inventory, included a number of important Roman coins. Beginning in 1628, these coins were dispersed in order to fund the family's political and territorial ambitions. In their follow-up article (QT XII [1983]), Simonetta and Riva presented a heretofore unknown 1653-1654 French narrative (Voyage d'Italie curieux et nouveau [Lyons, 1681]), as further evidence of the Gonzaga connection. Writing of his visit to Mantua, the author, Jean Huguetan, speaks of the coin collection having already been dispersed; these coins, however, can be recognized 'by a small eagle with which they have been stamped (à une petite aigle dont on les avoit marquées). This statement supports Spanheim's later one regarding similar coins (ex insculpta in iis, Gonzagarum insigni, Aquila) in the possession of the d'Este dukes of Modena. While the d'Este had since married into the Gonzaga and had acquired specimens in early dispersal of the Mantuan collection, they have no more specific association with this collector's mark.' (CNG 69, 2005, 1543 note).