Denarius - IMP ANTONINVS Marcus Aurelius Antoninus Born: A.D. 188 Emperor: A.D. 211-217 Obverse: Child portrait laureate, draped and cuirassed bust right - ANTONINVS AVGVSTVS Reverse: Sol standing front holding globe and spear- PONTIF TRP III Inscriptions: ANTONINVS AVGVSTVS / PONTIF(ex) TR(ibunicia) P(otestate) III (Thrice) Antoninus Augustus / Priest and Thrice Tribune of the Roman People Denarius - IMP GETA (as Caesar) Publius Septimius Geta Born: A.D. 189 Emperor: A.D. 209-211 Obverse: Child portrait draped bust right - L SEPTIMIVS GETA CAES Reverse: Spes advancing holding flower and raising skirt standing left - SPES PVBLICA Inscriptions: L(ucius) SEPTIMIVS GETA CAES(ar) / SPES (Goddess of Hope) PVBLICA (The People) Lucius Septimius Geta Caesar / Hope of the People These are two of my favorite coins. The two young brothers who would later quarrel over the empire left them by their father. Antoninus (Caracalla) was born Lucius Septimius Bassianus on April, 4th AD188 in Lugdunum. He was the elder of two sons born to the Emperor Septimius Severus and his wife Julia Domna. At the age of 8, he was given the name Marcus Aurelius Antoninus in order to draw a connection to the fondly remembered Antonines. Caracalla was not his name, it was a style of cloak popularized by the emperor. He was never addressed as Caracalla although the name is most commonly used now to refer to this emperor. His brother Geta, who was younger than him by just a year, was born on March 7, AD 189 in Rome. Young Antoninus Thier father, at the height of popularity after his successes against the Parthians, raised Caracalla, aged 10, to the rank of Augustus. This effectively made him his co-ruler and heir apparent. Geta was named Caesar, a lesser position. Although he was a second son and held a lower rank, as a member of the imperial family he enjoyed the privileges afforded him as a prince of the imperial family. Although still young boys and wielding no real power, these titles designated Caracalla as his father's heir and Geta the next in line. Young Geta As he and his brother grew into their teens, they clashed more frequently, threatening to shatter the carefully constructed image of a close nit and unified imperial family. Along with his own coin issues and statues, Septimius Severus minted coins and commissioned works of art with images of his young sons, his wife, and the family together. He promoted not just himself but his family. This was to be a dynasty. It is not surprising that a rivalry would grow between the two brothers, but this rivalry would eventually turn to animosity and antagonism. The brothers would oppose each other on almost every issue out of spite. The private rivalry soon began to transform into a public spectacle. This threatened to ruin their fathers carefully fostered image of a serene imperial family who worked together in harmony. Severan Family Portrait On this subject the historian Cassius Dio states: "if the one attached himself to a certain faction, the other would be sure to choose the opposite side...Severus, seeing that his sons were changing their mode of life and that the legions were becoming enervated by idleness, made a campaign against the Britons" He further states: "Antoninus was causing him alarm and endless anxiety by his intemperate life, by his evident intention to murder his brother if the chance should offer, and, finally, by plotting against the emperor himself." Dio accounts an attempt Caracalla may have made on his father life, one that he did not follow through with. Although the validity of this story is in question, Caracalla's power and influence had become almost as great as his fathers and he was known to be quite ambitious. It is not an unreasonable claim, from what we know concerning Caracalla, to say he was not above killing anyone who he might perceive as an obstacle or a threat. Caracalla and Geta by Lawrence Alma-Tadema, 1907 Much of the imperial court traveled with the Emperor and his sons to Britain in 208. Caracalla supported his father in his military campaigns while Geta was given civilian authority and took a more administrative role. Septimius Severus elevated Geta to Augustus in 209, effectively making him co-ruler with himself and Caracalla. He was possibly looking to appease his younger son and ease the tension between the two brothers. Instead the rivalry only intensified. There is no doubt this move threatened Caracalla and probably emboldened Geta. Besides the general disdain each had for the other which drove them to plot the others demise, Caracalla would never share power with his younger brother as equals. Geta had no intention of taking the role of junior partner. He would not voluntarily take a lesser role to his brother as Lucius Verus did with his brother Marcus Aurelius a half century earlier. Denarius - IMP SEPTIMIUS SEVERUS Lucius Septimius Severus Born: A.D. 145 Emperor: A.D. 193-211 Obverse: Portrait laureate head right - SEVERVS PIVS AVG Reverse: Victory Advancing left holding wreath and palm - VICT PART MAX Inscriptions: SEVERVS PIVS AVG(ustus) / VICT(ory) PART(hicus) MAX(imus) Severus Dutiful Augustus / Godess Victory representing Great Victory over the Parthians Severus fell ill and died on February 4, 211 in York. He is said to have made one last plea to his sons to make peace but his pleas fell on deaf ears. Two brothers at odds with each other would now be expected to peacefully co-exist as joint emperors. Caracalla was 22, Geta was 21. The two brothers returned to Rome and immediately began to oppose the other on almost every issue. Government was crippled and people were forced to chose sides. It quickly became a bitter and bloody struggle between the two factions. The Historian Cassius Dio states: "The two pretended to love and commend each other, but in all that they did they were diametrically opposed, and anyone could see that something terrible was bound to result from the situation. This was foreseen even before they reached Rome." Portraits of Geta and Caracalla Although Severus shared the title of Augustus with his sons, there was little question that he retained most of the power. He used his influence to keep his two sons in line as best he could. Without their father's controlling influence, the brothers were free to finally settle their differences once and for all. This long sibling rivalry, Geta's short time as Augustus, and his life would come to an end just 11 months after his fathers death. After at least one earlier failed attempt to take his brothers life, Caracalla had Geta killed some time in late December of 211. Geta was 22 years old at the time of his death. Geta Dying in his Mother's Arms by Jaques-Augustin-Cathrine Pajou Cassius Dio recounts his death. How accurate a depiction it is of his last hours is certainly in question: "Antoninus wished to murder his brother at the Saturnalia, but was unable to do so; ... and so there now ensued many sharp encounters between the two, each of whom felt that the other was plotting against him, and many defensive measures were taken on both sides. Since many soldiers and athletes, therefore, were guarding Geta, both abroad and at home, day and night alike, Antoninus induced his mother to summon them both, unattended, to her apartment, with a view to reconciling them. Thus Geta was persuaded, and went in with him; but when they were inside, some centurions, previously instructed by Antoninus, rushed in a body and struck down Geta, who at sight of them had run to his mother, hung about her neck and clung to her bosom and breasts, lamenting and crying: "Mother that didst bear me, mother that didst bear me, help! I am being murdered." And so she, tricked in this way, saw her son perishing in the most impious fashion in her arms, and received him at his death into the very womb, as it were, whence he had been born; for she was all covered with his blood, so that she took no note of the wound she had received on her hand." Caracalla managed to either purge, exile, intimidate, or pay off all those who still stood in his way. To the senate he justified his actions as self defense. He lamented that he had been the victim of a plot and his life was in danger. In essence he murdered his brother before his brother could murder him. He also took quick steps to pacify the legions offering them rewards for their loyalty. As Cassius Dio states: "Immediately after the murder of Geta, Caracalla hurried from the Palace to the Praetorian Camp, where he declared that Geta had made a plot against him. He then promised the soldiers a donative" Geta Antoninus (Caracalla) Septimius Severus issued coins bearing portraits of both Caracalla and Geta as young boys. Both brothers also later issued coins themselves with adult portraits. In statues and adult portraits on coins, Caracalla is often depicted with an almost angry, furrowed brow, intense and imposing. Surviving depictions of Geta are often of an innocent looking child or a less imposing young man. He is seldom depicted quite as brutish as his older brother. Geta Antoninus This gives fuel to the common view of Geta as a young innocent victim of treachery and fratricide, committed by a brutish and homicidal older brother. Although he was indeed murdered by his brother, the truth is more likely that each conspired to kill the other. Geta simply failed to take his brother out before his brother got to him. Caracalla could justify his actions officially but the fact that he murdered his brother would remain a touchy subject. Helvius Pertinax was killed by Caracalla for a witticism directed towards him, probably for a joke in reference to his murder of Geta. The less than reliable Historia Augusta elaborates on the fatal faux pas: "The son of Pertinax is said to have remarked as Caracallas titles were being read aloud -- Sarmaticus Maximus and Parthicus Maximus.'Add to these also Geticus Maximus, that is to say, Gothicus.' " Of Geta as a person, there is little reliable information, Dio states: "the troops felt very kindly toward the younger brother, especially as he resembled his father very closely in appearance." Again the Historia Augusta elaborates: "As a youth, he was handsome, brusque in his manners though not disrespectful, incontinent in love, gluttonous, and a lover of food and of wine variously spiced. In his literary studies he held fast to the ancient writers. He was ever mindful of his father's sayings, always regarded by his brother with hatred, more affectionate than his brother toward their mother, speaking with a stammer though his voice was melodious. He was very fond of bright clothing — so much so, in fact, that his father would laugh at him." After Geta's murder many of his statues were destroyed, his name officially erased from inscriptions, and many coins bearing his likeness were melted down. A process refered to later as damnatio memoriae. Caracalla would leave the city soon after and would never return spending almist his entire reign away from Rome. Severan family portrait, the face of Geta has been rubbed out An inscription with the name of Geta removed In some ways Caracalla showed himself as a reformer and competent ruler. He Granted citizenship to all free inhabitants of the empire, raised the pay of soldiers, and began construction on the bathhouses that bear his name. He also introduced the new denomination called the antoninianus. In other ways he was seen as a brutal tyrant. Along with a bloody purge of his brothers supporters, he dealt harshly with those he identified as enemies either foreign or domestic. As the people of Alexandria discovered, he was capable of reacting to insult, disloyalty, and mockery (either real or imagined) with shocking cruelty. Upon hearing that the people of Alexandria were in the habit of speaking ill of him, mocking him for various reasons, not the least of which was the murder of his brother, he set out to teach the inhabitants of that city a lesson in 215. As Cassius Dio recounts: "He set out for Alexandria, concealing his wrath and pretending that he longed to see them. So when he reached the suburbs, whither the leading citizens had come ... he first greeted them cordially, even making him his guests at a banquet, and then put them to death." After killing the emissaries of the city who came out to meet him he then marches into the city and according to Dio: "he slaughtered so many persons that he did not even venture to say anything about their number, but wrote to the senate that it was of no interest how many of them or who had died, since all had deserved to suffer this fate." He seemed to be content to rule by force and fear, he did not need the love of the people if he had the loyalty of the military. He succeeded at this by heeding the advice of his father who stressed the importance of being ever mindful of the troops. He who had the loyalty of the military can enforce his will. He ensured their loyalty with praise, high pay and generous benefits. He often took steps to make it appear that he was one of them, just another soldier in the service of Rome. Concerning this Cassius Dio states: "he would march with the soldiers and run with them, neither bathing nor changing his clothing, but helping them in every task and choosing exactly the same food as they had; and he would often send to the enemy's leaders and challenge them to single combat." His opinion of the senate or any civilian authority can be summed up in one statement: "I know that my behavior does not please you; but that is the very reason that I have arms and soldiers, so that I may disregard what is said about me" There were few military actions of any significance during his reign. He engaged the German Alamanni with some success leading to an agreement of peace with many of those tribes. He sought to engage the Parthians but it amounted to little more than harassment for minor gains. By 217 Caracalla was preparing for renewed conflict with the Persians when he is believed to have been murdered by his beloved troops who had been plotting his death for various grievances. All the favor he showed the military, in the end, could not negate the animosity that inevitably grows from the cruel behavior of a tyrant. While the emperor was traveling from Edessa to Carrhae, he stopped to rest and was stabbed by a soldier who had approached him as if he had important news to impart. Cassius Dio identifies the soldier as "Martialis" who fled the scene but was quickly captured and killed by the emperors personal guard. He stated that while the guard chased after the assailant "the tribunes, pretending to come to his (Caracalla) rescue, slew him." He was succeeded by Macrinus, his Prefect of the Praetorian Guard, and the man who may have been responsible for his death. The body of Antoninus was burned and his bones were deposited in the tomb of the Antonines. Supposedly his remains were brought into Rome secretly during the night because, according to Dio: "absolutely everybody, both senators and the rest of the population, men and women alike, hated him most violently" All coins my own, all other images linked. Of course feel free to comment and post what you like. Thanks!
What an incredibly well written article! Thanks for including the sculptures and paintings, they really help bring the story to life
I believe the best add I can offer is the Stratonicaea with Geta erased. These are common. It appears that this city took Caracalla's damnatio of his brother quite seriously. I'd have to do more research about the comparison of the portraits of the two boys. The 'brutish' Caracallas tend to come after Geta was dead. The earliest portraits after Septimius died are not as brutal. Geta was a year younger and gone before he reached the age of the scowling coins of his brother. The question that can never be answered is if/when Septimius realized that he erred in bringing Caracalla up to Augustus alone at such an early date.
Very well written and equally well illustrated @Cachecoins. Here are my examples of Denarii struck to commemorate Victory over Britannia: SEPTIMIUS SEVERUS AND HIS SONS CARACALLA AND GETA: In AD 208 Septimius Severus set out for Britain accompanied by his sons Caracalla and Geta with the avowed aim of restoring the much damaged Hadrian's wall and subduing the warlike native tribes of northern Britain and Caledonia (Scotland). In AD 211 he became terminally ill during the campaign, and after proclaiming Victory over Britannia, he withdrew to his headquarters at Eboracum (York) where he died later that year Septimius Severus, Denarius, RIC Vol. IV, No. 335 Obverse depiction: Laureate head facing right Inscription clockwise from bottom: SEVERVS PIVS AVG BRIT Reverse depiction: Victory seated left writing on shield Inscription: VICTORIAE BRIT Caracalla, Denarius, RIC Vol. IV, No. 231a Obverse depiction: Laureate head facing right Inscription clockwise from bottom: ANTONINVS PIVS AVG BRIT Reverse depiction: winged Victory advancing right holding trophy Inscription: VICTORIAE BRIT Geta, Denarius, RIC Vol. IV, No. 91 Obverse depiction: Laureate head facing right Inscription clockwise from bottom: P SEPT GETA PIVS AVG BRIT Reverse depiction: Victory standing left holding wreath and palm branch Inscription: VICTORIAE BRIT
Excellent writeup! Here are three favorites of mine which I like to think encapsulate the Severan family drama. Julia Domna and the boys, with the overly hopeful legend AETERNIT IMPERI. JULIA DOMNA AR Denarius. 3.0g, 19.5mm. Rome mint, AD 201. RIC 540; Vagi 1723; BMC 4. O: IVLIA AVGVSTA, draped bust right; hair elaborately waved. R: AETERNIT IMPERI, laureate and draped bust of Caracalla right, vis-à-vis bareheaded and draped bust of Geta left. Ex Dr. Walter Neussel Collection Septimius and the boys. Dad seems to be showing a preference for the older son here. SEPTIMIUS SEVERUS AE29. 11.18g, 28.8mm. BITHYNIA, Prusias ad Hypium, circa AD 197/8. RecGen -; BMC -; SNG von Aulock -; SNG Cop -; ISEGRIM -. O: ΑΥΤ Κ Λ ΣΕΠΤΙ ΣΕΟΥΗΡΟΣ Π, Laureate, draped and cuirassed bust right. R: ΕΙΣ ΕΩΝΑ ΤΟΥ-Σ Κ-ΥΡ-ΙΟΣ / ΠΡΟΥΣΙΕΩΝ, Septimius Severus, in military attire, standing front, head to left, holding scepter in his left hand and clasping his right hand with Caracalla, on the left, standing right in miltary attire and holding scepter in his left; on the right, Geta, togate, standing front, head to left, holding patera in his right hand and scroll (?) in his left. Notes: Unpublished in the standard references and possibly unique. The reverse legend, ΕΙΣ ΕΩΝΑ ΤΟΥΣ ΚΥΡΙΟΣ, translates as 'eternal rulers'. And finally, Caracalla, after getting Geta erased... CARACALLA [with Geta] Medallic AE. 28.75g, 38mm. CARIA, STRATONICAEA, circa AD 209-211. Epitynchanontos, prytanis. SNG von Aulock –; SNG Copenhagen –; SNG München –; SNG Tübingen –; cf. CNG 100, lot 1728; for c/m: Howgego 84. O: [AV K M AVP] ANTΩ[NINOC C Λ CЄ ΓЄTA]C K, Confronted busts of [Geta – erased as result of damnatio memoriae] right and Caracalla left, both laureate, draped, and cuirassed; c/m: Bust of Caracalla right within incuse circle. R: ЄΠI ΠPV ЄΠITVNKANONTOC Γ ΦΙΛΩNOC CTPAT[ONIKЄΩN], Hecate standing facing, head left, sacrificing from patera [over altar] and holding torch.
@Cachecoins .......Thanks for spending time putting the article together thoroughly enjoyed it!.....Nice coins too with the younger portraits.... Here's my happy family....
Cachecoins, I enjoyed reading your well researched thread ! Pictured below are some coins of Septimius Severus from my collection.
Well done! Both Caracalla and Geta look sweet and innocent on their early coins. Hard to believe that later on, the former murdered the latter and turned out to be a rather ghastly ruler by pretty much all criteria. Caracalla, Roman Empire, denarius, 196–198 AD, Rome mint. Obv: M AVR ANTON CAES PONTIF; bareheaded bust of Caracalla r. Rev: IMPERII FELICITAS; Caracalla, Felicitas standing l., holding caduceus and child. 18mm, 3.53g. Ref: RIC IV,1 Caracalla 9. Geta, Roman Empire, AR denarius, 198–200 AD, “Laodicea” mint. Obv: L SEPTIMIVS GETA CAES; bust of Geta, bare-headed, draped, r. Rev: SPEI PERPETVAE; Spes, draped, advancing l., holding flower in r. hand and raising skirt with l. hand. 20mm, 3.19g. RIC IV Geta 96.
Fantastic write-up, @Cachecoins, and the art illustrations bring the history to light! I'm bothered by one thing in the paintings by Lawrence Alma-Tadema and Jacques-Augustin-Catherine Pajou: their portrayal of Julia Domna. In their paintings, she's unrecognizable. You'd think before setting out such ambitious paintings, they'd have bothered to research her distinctive hairstyle. This was her coiffure at the time of the conflict between her sons, the reverse inscription noting that she is "mother of the augusti" among other things:
Excellent article. Well composed and expressed. if you are not in a career that requires cogent writing you should consider moving to one that does.
Great article. Here's a Severus struck for his voyage to Britain. Septimius Severus, A.R. Denarius, Rome mint, 210 C.E. 3.3 grams, 19.1 mm Obverse: Laureate head right, SEVERVS PIVS AVG Reverse: PMTRP XVIII COS III PP Neptune standing left, nude but for cloak over left shoulder and right arm, right foot on rock, right arm resting on right knee, trident vertical behind in left hand.
Completely understand this but artists through time very often presented historical figures in their own times and fashion, much more so than later history painters who presented classical themes at least attempted to present them closer to how they may have dressed and in settings closer to their own time period. Here we have paintings of King Shapur humiliating the emperor Valerian. No attempt is made to present them as they would have looked or dressed and they are often placed in locations that are familiar to the artist, nothing like the location that such events took place. So I give them credit for at least taking on the subjects and trying to present them in a more accurate way.
terrific summary and nice coins - I have always thought that the early denarii and antoniniani of Caracalla were among the most beautiful of the Roman silver series.
RI Septimus Severus 193-211 AR Denarius Genius Sacrificing RI AR Den Julia Domna 200 CE Felicitas Isis Horus foot on prow rudder against altar behind RIC 577, Ex: @dougsmit via @John Anthony 's Auction RI Caracalla 198-217 AR Denarius MONETA RI Geta AR Denarius 209-211 CE On horse spearing enemy
Much worn iconic coin issued by Septimius Severus to celebrate and commemorate his Victory over Britain. This coin has obvious condition problems. I have not seen one in this series available in VF/EF condition at a price I want to pay recently - they have become quite pricey (and hard to come by). Septimius Severus, Sestertius, RIC IV, Rome No. 796, AD 210 Obverse depiction: Laureate bust of Septimius Severus facing right Obverse Inscription: L SEPT SEVERVS PIVS AVG Reverse depiction: Two Victories, winged, draped, standing left and right, facing each other and fixing a shield to a palm tree, at the foot of which are two seated British captives. Reverse Inscription: P M TR P XVIII COS III P P - S C in exergue I love this coin, despite it obvious condition problems. I hope someone will post a pic of one in better condition, maybe RIC No. 818 which is the same as this except it has VICTORIAE BRITANNICAE as the Reverse legend.
You are right. Younger depictions of Caracalla did not have that look that says "I might just go off on you at any minute". Here he has more of an impish grin, while Geta is more composed.
