Contorniates, late 4th-early 5h century. Contorniate (Orichalcum, 36 mm, 22.96 g, 12 h). Diademed, draped and cuirassed male bust to left. Rev. Pegasus standing to right, placing his right foreleg in a water bowl while raising his left; in front of him, a female figure standing to left, offering him water from a bowl; beneath his belly, another female kneeling to right, washing his right foreleg; behind him, to left, a cupid sitting on a rock, leaning back and pouring water from an amphora onto Pegasus' back; above his head, another cupid flying to right, combing (?) his mane. Alföldi, Kontorniaten -. Mittag -. Unpublished and unique, and of the greatest interest. A wonderful contorniate with a spectacular reverse composition. Retoned and with minor spots of corrosion, otherwise, good very fine.
As privately minted commemorative medallions, contorniates are distinguished by a remarkable variety of often unconventional motifs. Anyone who takes the time to explore the more than 200 plates in Alföldi's monumental work will be consistently surprised by the original types presented. Their true diversity is much greater than what one might expect from a quick glance at auction archives, where only the common standard types typically appear. Our piece is particularly striking, as it introduces two entirely new types, with neither the obverse nor the fascinating reverse previously known. On the obverse, we find a youthful, cuirassed and draped male bust in the style of 4th-century Roman emperors, wearing a simple diadem - a symbol of Hellenistic kingship adopted by Constantine. On the reverse, we see Pegasus, the famous winged horse whose myth is closely tied to Corinth. However, unlike the typical depictions of a walking or flying Pegasus, here the stallion is being watered by a woman from a bowl, while another washes its front leg, which stands in a second vessel. In the background, one Cupid sits on a rock, pouring water from an amphora over the horse's back, while a second Cupid flies above it, reaching for its mane. A connection of this exceptional image to the well-known Pegasus myths seems unlikely. While there are many associations with water, especially the various springs said to have sprung from the winged horse's hoofbeats (with the Hippokrene on Mount Helikon being the most famous), our contorniate does not depict Pegasus striking a rock, as is seen in some coinage. Although Strabo recounts the myth of Bellerophon capturing Pegasus as it drank from the Peirene spring on the Acrocorinth, Bellerophon does not appear on our piece, and it is unlikely that Pegasus would have been combed and washed while drinking from the spring. A much more probable connection lies with the Roman chariot races, which held great cultural and political significance in Late Antiquity and are frequently referenced on contorniates. The most successful charioteers and their horses were the superstars of the time, and the races themselves were the grand social spectacle in the capitals. It is known that the racehorses were washed, adorned, and cared for by the famous factiones - the racing teams of Blue, Green, Red, and White - before their events. The image of the washing of Pegasus may thus refer to the preparations of racehorses, with the sacred winged horse serving as an archetype for the perfect, victorious racehorse. The composition of the image recalls ancient wall paintings or mosaics, with a central figure surrounded by various companions and a hint of a landscape. It is possible that this motif is inspired by a well-known (Classical or Hellenistic?) wall painting that was still known through copies in 4th-century Rome, although like most ancient paintings, it did not survive the ages. In this context, the question of the identity of the youthful man on the obverse becomes interesting. The style of the drapery and cuirass draws on the busts of 4th-century emperors, while the curly hair and simple diadem reflect Hellenistic traditions. However, it does not correspond to the classical Alexander types so often found on Contorniates, as the draped and cuirassed bust does not match, nor does it feature his typical Anastolé. Two possible interpretations arise: it could be a portrait of Bellerophon, the Corinthian hero who tamed Pegasus. However, the contorniate offers no direct references to Bellerophon or his myth. A more plausible explanation is that the bust represents an archetypical, victorious charioteer, which would also explain the absence of an inscription. In this case, the diadem would not be seen as a Hellenistic symbol of kingship, but rather as a classical victory symbol, similar to the one worn by the famous Charioteer of Delphi, dedicated around 478-474 BC by Polyzalos of Gela. This interpretation aligns with the reverse, where Pegasus, the most famous mythological horse, serves as an allegory for victorious racehorses. The combination of obverse and reverse thus creates a meaningful interplay: the idealized, youthful charioteer, marked as victorious by his diadem, and the triumphant, winged Pegasus, embodying the excellence of racehorses. Together, man and horse symbolize victory - achieved through their harmony and collaboration. Beyond its immediate numismatic significance, this interplay between myth and contemporary reality reflects a broader cultural phenomenon. In Late Antiquity, the predominantly pagan senatorial elite increasingly looked to the imagery of classical Greece and early Rome, drawing on an idealized past to express their identity in a changing world. This nostalgia was fueled by their political marginalization, the relocation of the imperial capitals to Ravenna and Constantinople, and the growing influence of Christianity. In this light, our contorniate is not merely a celebration of charioteering and its champions but a reflection of a late Roman aristocracy seeking continuity with its own glorious traditions. If the reverse indeed preserves a lost classical or Hellenistic wall painting, the piece could also hold significant art-historical importance, offering a rare glimpse into the visual culture of a bygone era