Gordian III, 238-244. Medallion (Bimetallic, 36 mm, 43.39 g, 1 h), Rome, 240. IMP GORDIANVS PIVS FELIX AVG Laureate and cuirassed half-length bust of Gordian III to right, holding spear over his left shoulder in his left hand; the cuirass decorated with gorgoneion and aegis. Rev. PONTIFEX MAX TR P III COS P P Roma seated left, shield at her side, holding a long scepter in her left hand and extending a globe with her right to Gordian III, who stands before her, laureate and togate, facing right; behind the emperor, Mars, helmeted, and in military attire, standing right; signum standing behind him; in the background, another soldier standing front, holding another signum. T. Bardin: Les émissions de médaillons impériaux et le monnayage festif de Gordien III (238-244 apr. J.-C.), in: RN 171 (2014), p. 175, Group 4, 63 = Gnecchi II, p. 90, 31 corr. and pl. 105, 3 = Michaux 719 corr. (same dies, but heavily tooled and hence with a misdescribed bust type). Cohen -, cf. 284 (differing bust type). Dressel -. Of the highest rarity, the second and finest known example. An impressive bimetallic medallion of exceptional style, featuring a bold and expressive bust and a superbly composed reverse. Sharply struck and beautifully preserved, with an absolutely delightful lime green and turquoise patina. Includes the original wire with which it was mounted. Plugged and with an attempted puncture on the obverse, otherwise, nearly extremely fine.
This magnificent medallion depicts Gordian III in an exceptionally finely crafted military half-length bust. The style stands out particularly due to the intricate design of the breastplate, featuring a central Gorgoneion and the Aegis draped over it, and the rendering of the pteryges on his shoulder. The warlike nature of the depiction is accentuated by the emperor’s spear, yet his relaxed posture, with the weapon resting over his shoulder, coupled with his youthful and serene portrait, conveys a remarkable sense of composure. On the reverse, we encounter Roma, seated on a throne with a shield at her side, presenting a globe to the emperor, who stands before her, flanked by a youthful Mars and a signifer. The medallion is dated to 240, as indicated by the reference to the emperor's third tribunician power, and it can be linked to the historical events of the time, particularly Gordian’s first campaign against the Sassanids. Though this campaign is not recorded in historiographical sources, coins from Antioch minted in 239 confirm Gordian's presence in the East, where he likely also conducted his processus consularis for that year. This medallion is closely related to other medallions (Gnecchi II, p. 93, 59) and asses (RIC 326) depicting the emperor seated on a throne, crowned by Victory and receiving an olive branch, as well as to other medallions (Gnecchi II, p. 93, 54) and sestertii (RIC 325) that celebrate his Adventus. Thus, the entire series was likely issued in Rome after Gordian's victorious return from the East. While the specifics of the campaign remain unclear, the celebratory nature of the coinage suggests military success and possibly a temporary peace settlement with the rising Sassanian superpower. Additionally, there may be a connection to the revolt of Sabinianus in Carthage in the same year, as reported by the Historia Augusta and Zosimus. Sabinianus, capitalizing on dissatisfaction with the rule of the young emperor, had himself proclaimed Augustus but was swiftly defeated by the governor of Mauretania and handed over by his own troops. Our medallion, which depicts the armed emperor receiving the globe from Roma in the presence of Mars and a soldier symbolizing the army, thus not only glorifies his divinely sanctioned rule over the orbis terrarum in typical Roman allegorical fashion but also alludes to contemporary events: the victorious Persian campaign and possibly the suppression of the African revolt. Beyond its historical and iconographic significance, this medallion is of particular numismatic importance because it corrects a longstanding misinterpretation in previous literature. The first known example of this type, upon closer examination, is die-identical on both sides but has clearly been heavily tooled: the shape of the shoulders and pteryges was altered, and the hand and spear were completely erased. Only with the appearance of our outstanding example, with its beautifully patinated surface, does the original composition of the bust reveal itself in full splendor, undoubtedly ranking among the finest imperial portraits of this period. The original wire with which it was mounted to be worn as a pendant, still intact and bearing its turquoise patina, not only adds to the piece's historical authenticity but also offers a rare glimpse into its use as jewelry in antiquity, giving testimony to its reception and wear in the past