Gallienus, 253-268. 'Denarius' (Silver, 19 mm, 2.43 g, 12 h), an 'offstrike' from aureus dies. Rome (?), circa 264-265. GALLIENVS P F AVG Cuirassed bust of Gallienus to left, wearing crested pseudo-Corinthian helmet and balteus, holding spear in his right hand and shield on his left shoulder, cuirass and shield decorated with a gorgoneion. Rev. P M TR P XIII C VI P P Mars, holding spear in his right hand and round shield in his left, descending right through the air to sleeping Rhea Silvia, reclining left on the ground, naked to waist and with her hands behind her head. Classical Numismatic Group 114 (2020), 977 = Maison Palombo 17 (2018), 101 (same dies). Cohen -. MIR -. RIC -. Extremely rare, apparently the second known example. A beautiful coin with an impressive bust type and a very interesting mythological reverse. Somewhat rough and with minor traces of corrosion, otherwise, good very fine.
Gallienus' extremely rare Rhea Silvia issues are remarkable in many respects. They draw inspiration from a motif found on an as of Antoninus Pius, which depicts the Vestal Virgin Rhea Silvia - daughter of Numitor Silvius, King of Alba Longa - being approached by Mars. According to the myth (Livy refers to it as a rape), their union resulted in the birth of Romulus and Remus, the legendary founders of Rome, thereby allowing the Romans to claim divine ancestry from the god of war. While the reasons behind Gallienus’ revival of this theme remain unclear, the exceptional craftsmanship of the dies, along with the unusually high silver content, clearly suggests that these coins were not intended for regular circulation. The type was struck on several occasions: first in gold at Mediolanum in 260 (MIR 945gg-946gg), and later as silver denarii in 264-265 (such as our example) and again in 266-267. It may have been issued to commemorate specific events, such as military victories, thereby establishing a symbolic link between Gallienus and the god of war, and emphasizing Rome’s mythical descent from Mars. This was a powerful and visually striking iconography, particularly in the crisis years following the capture of Gallienus’ father, Valerian, by the Sassanids, the wave of ensuing usurpations, and the secession of the so-called 'Gallic Empire' in the Northwest