GOSART_CATALOGUE_04_10_20

Published by the Classics Department
Rutgers University, New Brunswick NJ

2020
Cover images adapted from no. 15 obverse (front
cover) and no. 6 reverse (back cover) in this catalogue

THE IMAGE OF
JULIUS CAESAR
ON ROMAN COINS

OF HIS AGE

EXHIBITION
ZIMMERLI ART MUSEUM

RUTGERS UNIVERSITY

FALL 2020

CURATED BY THOMAS GOSART ‘20

THE IMAGE OF JULIUS CAESAR
ON ROMAN COINS OF HIS AGE

Julius Caesar (100 – 44 BCE) is perhaps the most famous and divisive
figure not just in Roman history, but in Western and ancient world
history as a whole. He was the central figure during the fall of the
Roman Republic, and achieved the dubious title of dictator perpetuo:
“dictator for life.” Caesar is most known for his vast military con-
quests, including a brutal eight-year campaign conquering Gaul and
a resounding victory in the Roman Civil War, which he himself
started in January 49 B.C.E. when he memorably crossed the Rubicon
river with his 13th Legion. He later won the war in 45, in the next
year becoming Rome’s dictator in perpetuity—and thus cementing
his fate.

Because Caesar was the first Roman to achieve such power, his name
inspired many of terms for absolute rulers in Europe, including
“Tsar”, “Kaiser”, and “Shah”. Yet besides being a brilliant general, he
was also a successful politician, statesman, writer, and forceful figure
in Roman public life.

2 THE BADIAN COLLECTION AT RUTGERS

As a politician, he served as Roman consul (i.e., joint head of state)
three times, which he combined with the position of pontifex maximus
(“chief priest“, the highest post in Rome’s state religion), and almost
continuous military commands. Once gaining his absolute control,
Caesar instituted many reforms throughout the Republic, including
(in 45) the creation of the Julian calendar, which even after the intro-
duction of the Gregorian calendar (in 1582) is still used by parts of
the Eastern Orthodox Church.

Julius Caesar was famously and viciously assassinated on the Ides of
March (March 15th) in 44. Afterwards, in 42, he became the first
Roman to be officially deified by the Roman Senate, and was given
the remarkable title of Divus, meaning “Divine.” His death immedi-
ately gained a tragic and almost mythological interpretation, and has
been retold by a number of later authors and playwrights, most fa-
mously by Shakespeare. His legacy continues to live on today in the
West and throughout the world, as a byword for both extreme
achievement and transgressive behavior.

Accordingly, the coins of Caesar issued in his lifetime and immedi-
ately following his death are some of the most fascinating and fa-
mous of any Roman historical figure. In general, coins are a very
effective means of communication and propaganda. They are widely
circulated, making their way to citizens in every aspect of life, and
are highly durable. In the ancient world, they were the primary
means of currency, and the only form of truly mass communication,
and so could hold significant sway in public life. The classicist and
numismatist Ernst Badian (1925-2011) well described this phenome-
non: “Coins, in antiquity, were more than an instrument of economic
exchange. They almost inevitably served to convey the chosen image
of the government that produced them, both to its own people and
to other states — rather like postage stamps in many countries today,
except that coins were the only means of doing so.”

Similar to today, Rome’s coins would remain in circulation for many

THE IMAGE OF JULIUS CAESAR 3

decades after their minting, and—as the evidence of hoards shows
us—up to a century, or even beyond. Thus, their message and imag-
ery could become a ubiquitous part of daily life and cement their im-
agery as well as the legacies of those who released them.

So is there such a thing as “Caesarian coins’? Throughout his later,
post-Rubicon career, Caesar issued two types of coins. The first are
those for which he was the moneyer, or the person directly respon-
sible for the minting of a coin. These coins gave Caesar a direct
method of communicating his accomplishments and his image to the
Roman people, especially soldiers. As the moneyer, he had full con-
trol of what was depicted on the coins, and he naturally chose in-
scriptions and imagery that powerfully communicated his military
successes, and drew on imagery deeply connected to Rome’s origins.

The second are those that depict his image and which were minted
by others who clearly supported him. Caesar was the first living
Roman to be depicted on a coin that was minted in Rome itself. So
these coins give special insight not only to how Caesar wished to
portray both his rule and himself to the Roman public, but also to the
physical appearance of Caesar the man. The coins depicting Caesar
thus give a potential snapshot of Caesar’s image and facial features,
in that they seem more “natural’ and may possibly be more realistic
than those presented in sculpture or other forms of art.

The Ernst Badian Collection of Roman Republican Coins is the result
of a generous gift first made to Rutgers in 2000. It is housed in New
Bunswick in Alexander Library’s Special Collections and University
Archives, and contains over 1250 specimens, with examples of most
major issues that the Romans minted for a span of about 250 years
(ca. 280-31 B.C.E.). A total of twenty-three have some relation to Cae-
sar, whether minted under his authority or promoting his imagery,
and all feature in this exhibition. I have organized these coins in
chronological order of their issue, using the dates established by Mi-
chael Crawford in his standard work Roman Republican Coinage

4 THE BADIAN COLLECTION AT RUTGERS

(1974). An overview of these coins offers insights on Caesar, both the
military and political figure and the man himself, in his last six years
of life.

In total, the Badian Collection contains six denarii (singular denarius,
a silver coin with the monetary value roughly of a day and a half’s
wage for a Roman legionary) issued by Caesar himself. However, it
is important to note that while Caesar is the moneyer of these six
coins, none of them feature his image. These coins offer valuable ev-
idence for his portrayal to a Roman audience, especially his army.
But aspects of these coins have also been difficult to interpret, even
by experts.

One of the most famous of these items is the elephant denarius (no.
1, 49-48 B.C.E.), which continues to be a part of significant debate
among scholars and historians. The obverse is relatively straightfor-
ward, featuring pontifical imagery and alluding to Caesar’s election
(in 63 B.C.E.) as pontifex maximus, a lifetime appointment; this type of
imagery is featured on other coins minted by Caesar as well. The re-
verse, which features an elephant trampling a dragon, is what has
proven difficult to interpret. The debate surrounding this coin in-
cludes uncertainty over which side is the reverse and obverse, as
well as where the coin was minted. The uncertainty in the mint loca-
tion comes from the fact that this coin was likely minted while Cae-
sar was on his campaign in Gaul and thus constantly on the move.

The choice of an elephant is very unusual for a Roman coin. Craw-
ford interpreted it as perhaps portraying the “victory over evil,” with
Caesar achieving victory in Gaul. The most robust interpretation, in
my view, comes from Deborah Nousek, who argues that it was in-
tended to “launch a biting personal attack on not one but three of his
fiercest opponents,” as Caesar was in a tenuous political situation at
the time. Indeed, the elephant denarius alone shows the challenges of
Caesar’s coins for examining his legacy and portrayal.

THE IMAGE OF JULIUS CAESAR 5

Further analysis of coins issued by Caesar shows his continued at-
tempts to solidify his position and display his accomplishments. A
striking example of this is the denarius featuring the mythological
scene of Aeneas carrying his father Anchises as they fled Troy (no. 2,
datable to 47 or 46 B.C.E.). According to tradition, Aeneas then went
on to found Rome, and he left a son Ascanius or Iulus, whom Cae-
sar’s family claimed as a direct ancestor. This coin can be seen as a
move by Caesar to assert his family lineage not just to Aeneas, but to
his parents Anchises and the goddess Venus.

Indeed, from the mid-second century B.C.E., it was normal practice
for Roman moneyers to depict a claim to exalted family lineage on
the reverse of coins by using mythological scenes or images. Caesar
here follows suit, but with a scene that clearly had a deep connection
to Rome’s very origin. In the next generation, the poet Vergil would
feature the incident prominently in his epic poem the Aeneid (al-
though after the coin was minted).

Another coin (no. 3, 46 B.C.E.) trumpets Caesar’s accomplishments
in the political sphere: three times consul and two times dictator on
the obverse; on the reverse, pontifex maximus, using pontifical imag-
ery similar to the elephant denarius.

Finally, two more coins (nos. 5, 6, each from 46-45 B.C.E.) depict Cae-
sar’s conquests in war, displaying a tropaeum (i.e., a mannequin
decked with captured armor and weapons, as a victory trophy)
along with captives from war. Presumably these coins were widely
circulated among his soldiers and the Roman populace; undoubtedly
they paint Caesar as a powerful figure—someone with divine line-
age, unparalleled experience in public office, and significant military
conquests. It is clear that Caesar wished to take advantage of the ubi-
quity of coins, using them to his own political advantages.

Nevertheless, some of the most suggestive coins of the collection re-
garding Caesar’s portrayal of himself are the ones with his own

6 THE BADIAN COLLECTION AT RUTGERS

image, reproduced in what strikes us as a realistic (as opposed to
idealizing) manner. As mentioned, Caesar was the first Roman to
have his image portrayed on coins while he was still living, giving us
an unusually valuable resource in examining the legacy of a Roman
Republican figure. More than anything, it gives us an opportunity to
examine a form of imagery that could be viewed as a veristic life
image of Caesar himself.

One could claim the same verism in portraiture can exist in sculpture
and other representational media (e.g., carved gems), and that the
imagery on coins can be changed and perfected to give a more ide-
alized depiction of the person in question. Yet the fact remains that
the coins without a doubt best offer insight into how Caesar wished
to portray himself to a mass audience, especially in the aspects of his
image which he might have been anxious about.

One of the more well-known imperfections in Caesar’s image was
his baldness. Suetonius, in his work Life of the Caesars (written in the
early second century C.E.), describes Caesar’s anxiety over his bald-
ness, as well his eagerness to receive an honorary laurel crown to
cover it up (Div. Jul. 45). Suetonius’ assertion seems confirmed by the
numismatic evidence. Caesar wears a laurel crown on every coin in
which his portrait appears, and indeed the crowns in some way or
another obscure some part of his head. This remains true even in the
coins he appears in posthumously.

Even more supportive of this notion are the coins where Caesar
wears both the laurel crown and the pontifex maximus hood or veil
(nos. 11, 12, 13, 16, all from 44 B.C.E.). In each one, the view of his
hair is completely hidden; it is impossible to tell if he had plenty of
hair or was completely bald in these coins. Having served as both
pontifex maximus and dictator, Caesar certainly may have wanted to
depict himself wearing these items to display his authority and
power. Nevertheless, given especially that Suetonius states that Cae-
sar had well-known issues with his baldness, it makes much sense

THE IMAGE OF JULIUS CAESAR 7

that desire to conceal hair loss at least partially inspired Caesar’s
choice to depict himself in this way.

The progression of the coins in this catalogue also illustrates the de-
velopment in the titles Caesar used to present his image to the pub-
lic. In the earlier coins in the series (nos. 1-2, also 5-6, taking in the
years 49 through 45 B.C.E.), we see that he uses CAESAR—his cog-
nomen—alone, without a mention of his praenomen (Gaius) or nomen
(Iulius). This is striking, since Roman moneyers in the later Republic
usually try to fit in all the elements of their names on their coin is-
sues, using both the obverse and reverse sif needed. As noted by Lily
Ross Taylor more than 50 years ago, it was likely understood that
there was “no other Caesar to whom this might refer,” showing Cae-
sar’s already powerful reputation and fame at this time. In two coins
of 46 B.C.E. (nos. 3-4), we see Caesar using all of the principal politi-
cal titles he accumulated, which include COS·TERT (consul three
times) and DICT·ITER (dictator twice) on the obverse, and AVGVR
(augur, an important priesthood for interpreting questions of consti-
tutional authority) and PONT·MAX (pontifex maximus) on the re-
verse.

Caesar’s use of titles become significantly more authoritative in the
coins from his last months in 44 B.C.E., the ones that bear his image.
In nos. 7, 14, and 15, he uses the titles IMP or IMPER, meaning imper-
ator, a charismatic acclamation that meant “successful general” (and
later emperor). It was once widely believed that Caesar claimed this
to be his praenomen, but as Taylor asserts, this is not the case, and in-
deed that makes its usage here even stronger. Caesar is claiming this
title likely after victory in the Civil War in 45, asserting once more his
powerful position.

Starting in 44 B.C.E., a large portion of the coins (nos. 8-13) use the
title DICT·PERPETVO, meaning “dictator in perpetuity,” or “dictator
for life.” Caesar claimed the title with his victory in the Civil War
and with it, asserted absolute power. in Rome. This was an in-

8 THE BADIAN COLLECTION AT RUTGERS

credibly provocative title to take, one that not even Sulla (died 78
B.C.E.)—the only Roman to have held the dictatorship in the century
and a half period previous to Caesar—had even dared to consider.
The circulation of coins with the imperator and dictator perpetuo titula-
ture, coupled with the novel appearance of his lifetime image, surely
had a profound impact on the promotion of Caesar’s image in Rome,
painting him not just as a great general but also all-powerful ruler.

A final title that Caesar takes in his lifetime is seen in no. 16 (44
B.C.E.; the rest were posthumously minted), where he uses the title
PARENS·PATRIAE, meaning “parent of the fatherland/nation.” This
is very likely the most propagandist coin of those minted during
Caesar’s time. While each of the previous coins certainly served as a
means of forcefully enhancing Caesar’s image, they all used some of
Caesar’s achievements or earned titles. This title, on the contrary, is
one that Caesar seems to simply claim here—there is no good ev-
idence that he received it from the Senate—and by using it appears
to transcend the role of powerful ruler and general, and to become
rather a hero or even savior of the nation. Such a portrayal would
certainly be most useful for Caesar in implementing his planned re-
forms and attempting to maintain his absolute control. The type
proved so memorable that it even received comment from a historian
of the third century C.E. (Dio Cassius 44.4.4).

As a whole, the evolution of Caesar’s coins in itself paints a picture
of the last stage of his rise to power, transforming in just six years
from an aristocratic Roman of consular status, to dictator perpetuo and
parens patriae. By the time of the last coin in our collection (the post-
humous no. 23, 36 B.C.E., with title DIVOS IVLIVS), Caesar had been
for some time recognized as a god. It is clear that in his lifetime coi-
nage, Caesar wanted to appear as someone who was powerful, ac-
complished, and flawless. The coins, while conveying a certain
realism, in fact cover up his shortcomings, make him appear youth-
ful, and proudly—even shamelessly—assert his power. Therefore,
while the coins add a unique perspective, they still continue to fol-
low the overall narrative in the story of Caesar.

THE IMAGE OF JULIUS CAESAR 9

It is difficult to tell, but these coins—with their message of unending,
absolute control over Roman citizens—may have contributed to the
widespread belief, especially among members of the Senate, that
Caesar had accumulated too much power. If so, we have here in this
collection an explanation for the actions of Brutus, Cassius, and their
fellow senatorial conspirators on the Ides of March, 44 B.C.E.

ACKNOWLEDGEMENTS

I would like to thank Professor Corey Brennan (Rutgers Classics De-
partment) for the opportunity to work with the Badian Collection as
well as for all of his work on this project with me; Professor Jane
Cody (University of Southern California) for sharing an unpublished
lecture with me; Cecilia (Wenxuan) Huang for her constant advice,
suggestions, and support throughout the project, which were essen-
tial to its completion; Eric Silver and Raymond Henning for their
continuous support and encouragement; and my mother, father, and
brother for always readily giving me encouragement and guidance

For making this exhibition possible, I also would like to express my
special thanks to Dr Donna Gustafson, Curator of American Art and
Mellon Director for Academic Programs at the Zimmerli Art Mu-
seum (ZAM); Tim Corlis, Head of Preservation at Special Collections
and University Archives (SC/UA), who served as the Artistic Direc-
tor for this exhibition; and Dr Fernanda Perrone, Archivist and Head
of the Exhibitions Program at SC/UA.

Thanks are owed also to James McGlew, Professor and Chair of Rut-
gers Classics; Serena Connolly, Associate Professor, Rutgers Classics;
Thomas Sokolowski, Director of ZAM; Dr Christine Giviskos, Cu-
rator of Prints, Drawings, and European Art at ZAM; and Sonia
Yaco, Associate Director of SC/UA.



THE IMAGE OF JULIUS CAESAR 11

1 = Crawford 443/1
Mint Date 49 B.C.E.-48 B.C.E.

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.7g
Mint Gaul (?)
Classification Sydenham 1006; Crawford 443/1
Type-Obverse Elephant to right, trampling dragon; border of dots
Type-Reverse Priestly symbols: culullus (horn-shaped vessel), asper-
gillum (sprinkling stick), securis (axe), and apex (pointed priest’s cap);
border of dots
Legend-Obverse CAESAR
Legend-Reverse [none]

Description Since this coin represented a military issue, the exact lo-
cation of its mint cannot be ascertained. Sydenham presumes that
this coin was minted in Gaul. Sydenham and Crawford differ regard-
ing which side of the coin represented the obverse and reverse. Sy-
denham identifies the elephant trampling the dragon as the obverse
while Crawford choses to indicate this iconography as belonging to
the reverse.



THE IMAGE OF JULIUS CAESAR 13

2 = Crawford 458/1
Mint Date 47 B.C.E.-46 B.C.E.

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 17mm
Weight 3.9g
Mint Africa
Classification Sydenham 1013; Crawford 458/1
Type-Obverse Diademed head of Venus, to right; border of dots
Type-Reverse Aeneas, to left, carrying Palladium (image of Athena /
Minerva) in right hand, his father Anchises on left shoulder; on right
CAESAR, downwards; border of dots
Legend-Reverse CAESAR



THE IMAGE OF JULIUS CAESAR 15

3 = Crawford 467/1a
Mint Date 46 B.C.E

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 4.0g
Mint Rome
Classification Sydenham 1023; Crawford 467/1a
Type-Obverse Head of Ceres, to right, wearing grain wreath; be-
hind, COS·TERT downwards; before, DICT·ITER upwards; border of
dots
Type-Reverse Simpulum (ladle) or culullus (horn-shaped ladle), asper-
gillum (sprinkling stick), capis (jug), and lituus (augural staff); above,
AVGVR; below, PONT·MAX; on right, D; border of dots
Legend-Obverse COS·TERT DICT·ITER
Legend-Reverse AVGVR PONT·MAX D

Description Crawford states in his index that the capis and simpulum
are one in the same, uses the term “jug” to describe the reverse. Ho-
wever, Sydenham describes capis and simpulum separately and it
seems that simpulum is in fact closer to culullus. Also, Sydenham de-
scribes the grain wreath on the head of Ceres, while Crawford does
not mention it.



THE IMAGE OF JULIUS CAESAR 17

4 = Crawford 467/1b
Mint Date 46 B.C.E.

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 4.2g
Mint Rome
Classification Sydenham 1024; Crawford 467/1b
Type-Obverse Head of Ceres, to right, wearing grain wreath; be-
hind, COS·TERT downwards; before, DICT·ITER upwards; border of
dots
Type-Reverse Simpulum (ladle) or culullus (horn-shaped ladle), asper-
gillum (sprinkling stick), capis (jug), and lituus (augural staff); above,
AVGVR; below, PONT·MAX; on right, M; border of dots
Legend-Obverse COS·TERT DICT·ITER
Legend-Reverse AVGVR PONT·MAX M

Description Crawford states in his index that the capis and simpulum
are one in the same, uses the term “jug” to describe the reverse. Ho-
wever, Sydenham describes capis and simpulum separately and it
seems that simpulum is in fact closer to culullus. Also, Sydenham de-
scribes the grain wreath on the head of Ceres, while Crawford does
not mention it.



THE IMAGE OF JULIUS CAESAR 19

5 = Crawford 468/1
Mint Date 46 B.C.E.-45 B.C.E.

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 20mm
Weight 3.9g
Mint Spain
Classification Sydenham 1014; Crawford 468/1
Type-Obverse Head of Venus to right, wearing diadem, earring, and
necklace; behind, Cupid; border of dots
Type-Reverse Trophy composed of helmet, cuirass, two spears, two
oval shields, and two carnyces (singular carnyx, a Gallic wind instru-
ment); on left, seated female captive resting head in right hand; on
right, bearded captive, seated and with hands tied behind back; bor-
der of dots
Legend-Obverse [none]
Legend-Reverse CAESAR



THE IMAGE OF JULIUS CAESAR 21

6 = Crawford 468/2
Mint Date 46 B.C.E.-45 B.C.E.

Moneyer Gaius Julius Caesar
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 3.9g
Mint Spain
Classification Sydenham 1015; Crawford 468/2
Type-Obverse Bust of Venus to left, draped, wearing diadem, star in
hair; on shoulder, Cupid; behind scepter; on left, lituus (augural
staff); border of dots
Type-Reverse Trophy with oval shield and carnyx (Gallic wind in-
strument) in right hand, oblong shield and in carnyx in left hand; on
left, kneeling bearded Gaul captive with hands tied behind back; on
right, seated female Gaul captive resting head in hand; in exergue,
CAESAR; border of dots
Legend-Obverse [none]
Legend-Reverse CAESAR



THE IMAGE OF JULIUS CAESAR 23

7 = Crawford 480/5b
Mint Date 44 B.C.E.

Moneyer Publius Sepullius Macer
Denomination Denarius
Material Silver
Dimensions 22mm
Weight 3.9g
Mint Rome
Classification Sydenham 1071; Crawford 480/5b
Type-Obverse Wreathed head of Caesar to right; behind, star; before,
CAESAE·IMP downwards; border of dots
Type-Reverse Venus to left; holding Victory in right hand and scep-
ter with star at the bottom in left hand; behind, P·SEPVLLIVS down-
wards; before, MACER upwards; border of dots
Legend-Obverse CAESAR·IMP
Legend-Reverse P·SEPVLLIVS MACER



THE IMAGE OF JULIUS CAESAR 25

8 = Crawford 480/7b
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 3.44g
Mint Rome
Classification Sydenham 1062; Crawford 480/7b
Type-Obverse Laurel wreathed head of Caesar to right; before, CAE-
SAR downwards; behind, DICT·PERPETVO upwards; border of dots
Type-Reverse Venus, seated to right, holding Victory in right hand
and scepter in left hand; behind L·BVCA downwards; border of dots
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse L·BVCA



THE IMAGE OF JULIUS CAESAR 27

9 = Crawford 480/10
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.77g
Mint Rome
Classification Sydenham 1073; Crawford 480/10
Type-Obverse Laurel wreathed head of Caesar to right; before, CAE-
SAR downwards; behind, DICT·PERPETVO upwards; border of dots
Type-Reverse Venus, standing to left, holding Victory in right hand
and scepter in left hand; at bottom of scepter, shield; behind,
P·SEPVLLIVS downwards; before, MACER upwards; border of dots
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse P·SEPVLLIVS MACER



THE IMAGE OF JULIUS CAESAR 29

10 = Crawford 480/11
Mint Date 44 B.C.E.

Moneyer Publius Sepullius Macer
Denomination Denarius
Material Silver
Dimensions 17mm
Weight 3.4g
Mint Rome
Classification Sydenham 1072; Crawford 480/11
Type-Obverse Wreathed head of Caesar to right; before, CAESAR
downwards; behind, DICT·PERPETVO upwards; border of dots
Type-Reverse Venus to left, holding Victory in right hand and scep-
ter in left hand; at bottom of sceptre, star; behind, P·SEPVLLIVS
downwards; before, MACER downwards; border of dots
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse P·SEPVLLIVS MACER



THE IMAGE OF JULIUS CAESAR 31

11 = Crawford 480/13
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.5g
Mint Rome
Classification Sydenham 1074; Crawford 480/13
Type-Obverse Laurel wreathed head of Caesar to right, wearing veil;
before, CAESAR downwards; behind, DICT·PERPETVO upwards;
border of dots
Type-Reverse Venus Victrix standing left, holding Victory and scep-
tre resting on shield; P·SEPVLLIVS downward to right, MACER
downward to left
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse P·SEPVLLIVS MACER



THE IMAGE OF JULIUS CAESAR 33

12 = Crawford 480/15
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.9g
Mint Rome
Classification Sydenham 1068; Crawford 480/15
Type-Obverse Laurel wreathed head of Caesar to right, wearing veil;
before, CAESAR downwards; behind, DICT·PERPETVO upwards;
border of dots
Type-Reverse Venus, standing to left, holding Victory in right hand
and scepter in left hand, resting elbow on shield, which rests on a
globe; behind, C·MARIDIANVS downwards; border of dots
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse C·MARIDIANVS



THE IMAGE OF JULIUS CAESAR 35

13 = Crawford 480/16
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 17mm
Weight 3.7g
Mint Rome
Classification Sydenham 1067; Crawford 480/16
Type-Obverse Laurel wreathed head of Caesar to right, wearing veil;
before, CAESAR downwards; behind, DICT·PERPETVO upwards;
border of dots
Type-Reverse Venus, standing to left, holding Victory in right hand
and scepter in left hand, resting elbow on shield, which rests on a
globe; behind, C·MARIDIANVS downwards; border of dots
Legend-Obverse CAESAR DICT·PERPETVO
Legend-Reverse C·MARIDIANVS



THE IMAGE OF JULIUS CAESAR 37

14 = Crawford 480/17
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 4.0g
Mint Rome
Classification Sydenham 1055; Crawford 480/17
Type-Obverse Laurel wreathed head of Caesar to right; before, CAE-
SAR downwards; behind, IMPER upwards; border of dots
Type-Reverse Venus, standing to left, holding Victory in right hand
and scepter in left hand, resting elbow on shield, which rests on a
globe; behind M·METTIVS; before, A; border of dots
Legend-Obverse CAESAR IMPER
Legend-Reverse M·METTIVS

Description Letter on Reverse can range from A-E under Sydenham
and Crawford numbers. This example shows A.



THE IMAGE OF JULIUS CAESAR 39

15 = Crawford 480/18
Mint Date 44 B.C.E.

Moneyer Marcus Mettius
Denomination Denarius
Material Silver
Dimensions 19mm
Weight 3.65g
Mint Rome
Classification Sydenham 1070; Crawford 480/18
Type-Obverse Laurel wreathed head of Caesar to right; before, CAE-
SAR downwards; behind, IMPER upwards; border of dots
Type-Reverse Venus, standing to left, holding Victory in right hand
and scepter in left hand; at bottom of scepter, star; behind,
P·SEPVLLIVS downwards; before, MACER downwards; border of
dots
Legend-Obverse CAESAR IMPER
Legend-Reverse P·SEPVLLIVS MACER



THE IMAGE OF JULIUS CAESAR 41

16 = Crawford 480/19
Mint Date 44 B.C.E.

Moneyer Gaius Cossutius Maridianus AAAFF
Denomination Denarius
Material Silver
Dimensions 20mm
Weight 3.68g
Mint Rome
Classification Sydenham 1069; Crawford 480/19
Type-Obverse Wreathed head of Caesar to right; wearing veil; be-
fore, lituus; behind, apex; before, CAESAR upwards; behind,
PARENS·PATRIAE upwards; border of dots
Type-Reverse C·COSSVTIVS and MARIDIANVS arranged in form
of cross; in angles, A A A FF; border of dots
Legend-Obverse CAESAR PARENS·PATRIAE
Legend-Reverse C·COSSVTIVS MARIDIANVS A A A FF



THE IMAGE OF JULIUS CAESAR 43

17 = Crawford 485/1
Mint Date 43 B.C.E.

Moneyer Lucius Flaminius Chilo IIIIVIR
Denomination Denarius
Material Silver
Dimensions 20mm
Weight 3.18g
Mint Rome
Classification Sydenham 1089; Crawford 485/1
Type-Obverse Laureate head of Caesar to right; border of dots
Type-Reverse Goddess standing left, holding caduceus (wand en-
twined by serpents) in right hand and scepter in left hand; on right,
L·FLAMINIVS downwards; on left, III·VIR upwards; border of dots
Legend-Obverse [none]
Legend-Reverse L·FLAMINIVS IIII·VIR



THE IMAGE OF JULIUS CAESAR 45

18 = Crawford 488/1
Mint Date 43 B.C.E.

Moneyer Marcus Antonius
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.8g
Mint Transalpine and Cisalpine Gaul
Classification Sydenham 1165; Crawford 488/1
Type-Obverse Head of Marcus Antonius to right, bearded; behind,
lituus; before, M·ANTON·IMP downwards; border of dots
Type-Reverse Laureate head of Caesar to right; behind, jug; before,
CAESAR·DIC downwards; border of dots
Legend-Obverse M·ANTON·IMP
Legend-Reverse CAESAR·DIC



THE IMAGE OF JULIUS CAESAR 47

19 = Crawford 488/2
Mint Date 43 B.C.E.

Moneyer Marcus Antonius
Denomination Denarius
Material Silver
Dimensions 18mm
Weight 3.7g
Mint Transalpine and Cisalpine Gaul
Classification Sydenham 1166a; Crawford 488/2
Type-Obverse Head of Marcus Antonius to right, bearded; behind,
lituus; before, M·ANTON·IMP·R·P·C downwards; border of dots
Type-Reverse Laureate head of Caesar to right; behind, jug; before,
CAESAR·DIC downwards; border of dots
Legend-Obverse M·ANTON·IMP·R·P·C
Legend-Reverse CAESAR·DIC