Tetrarchy

CARUS. Antoninian. (Ae. 4.22g/22mm). 282 AD Ticinum. (ICR 82). Obv: radiated and cuirassed bust of Caro to the right, around legend: IMP CARVS PF AVG. Rev: Spes advancing to the left carrying a flower, in exergue: SXXI, around legend: SPES PVBLICA. Almost Extremely Fine. Nice specimen.
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ALLECTUS. Antoninian. (Ae. 4.33g/23mm). 293-295 AD Camulodunum. (RIC 91). Obv: Radiate, draped, armored bust right, legend around: IMP C ALLECTVS PF AVG. Rev: Pax standing left holding flower and sceptre, between SP, exergue: C, around legend: PAX AVG. Extremely Fine. Beautiful specimen, very rare as well.

Between 293 and 296 AD, the usurper Elect ruled the provinces of Britannia and northern Gaul until he was defeated by Constantius Chlorus. The limited chronological and spatial margin of their issues gives these coins a certain rarity that does not go unnoticed by the collector. As with the coins of Carausius, with which it shares numerous similarities, the portraits suffer from the technical coarseness of the execution, although they show great vigor in their representation.
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LICINIUS I. Ae21. (Ae. 3.49g/21mm). 313-315 AD Treveri. (RIC 58). Good Very Fine.
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MAXIMIAN, Hercules. Medallion. (Ae. 40.99g/41mm). 297-298 AD Rome. Obv: VIRTVS MAXIMIANI AVG. Laureate bust with breastplate with Aegis of Maximian to right carrying a shield decorated by a she-wolf nursing Romulus and Remus, with a horse's head behind. Rev: MONETA AVGG. The three Moneta stand facing left, all three carrying scales and cornucopias. (Cohen 405; BMC Medallions 4; Gnecchi 18). Good Very Fine. Revised obverse field. Very rare.

In the same way that Diocletian did with Jupiter, Maximian appears identified with Hercules in a magnificent portrait of great strength and realism. The intimate association of the person of the ruler with the divine nature of the hero is part of the imperial propaganda program, which found one of its best means of dissemination in coins and medals. This medal does not lack another detail of great symbolic weight: the representation of Rome and its foundation in the images of the she-wolf, Romulus and Remus. On the reverse, and with the representation of the goddess Moneta, we find another scene with a powerful symbolic charge; it seems that the cult of this goddess was established due to the influence of Greek religion and that this was the equivalent of the Greek cult of Mnemosyne. The allegory on the reverse of this medallion is thus linked to the very origins of Roman civilization. It is not the only reference to Greek culture present in this medallion. Back on the obverse we can see in the center of the breastplate the mythological figure of Medusa, probably the most recognized villain in all of Greek mythology, capable of petrifying any living being with her simple gaze.
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