![]() ![]() It was Mark Antony, a general who served under Caesar, that righted the wrongs of Brutus and melted down the famous EID MAR coin. Want even more coin collecting information, market insight and in-depth collecting guides? Try the latest issue of Coin Collector magazine today! Click here to order a copy. ![]() The following 'Ides of March' coin sold at auction house Roma Numismatics for a staggering £2,700,000, the world record price paid for a Roman coin. This example sold for $546,250 (approximately £393,619) in 2015 at a Heritage Auctions sale… but it was a gold version of the coin that grabbed the headlines in November 2020. The victors then recalled the coin and melted down many examples, making the coin even more scarce for today's collectors. The reign of Brutus ended with a knife similar to that seen on the coin, as he killed himself after a failed battle. The coin's design shows a bust of Brutus and, on the reverse, two daggers either side of a pileus, a felt hat worn by freed slaves, suggesting Caesar's murder stopped his oppression of the people of the Empire. No wonder the few examples that remain in private hands often grab the headlines at high profile coin auctions. Why? Put simply, the coin was issued to spread news of the assassination of Julius Caesar. The 'EID MAR' (Ides of March) denarius has been described as 'undoubtedly the most historically important of all ancient coins'. ![]() AAI8505050.Here's five rare Roman coins we'd love to add to our collection Subject AreaĬUNNALLY, JOHN, "THE ROLE OF GREEK AND ROMAN COINS IN THE ART OF THE ITALIAN RENAISSANCE" (1984). The bibliography includes a section devoted to the extensive numismatic literature of the Cinquecento. Titian's Charles V on Horseback (Prado) has been linked already to an ancient imperial coin type, the warlike Profectio it can be shown, instead, that Titian's model was the Decursio of Nero and Hadrian, an image interpreted by sixteenth century antiquarians as a peaceful or ceremonial display of horsemanship. John the Baptist (Metropolitan Museum) includes six numismatic motifs employed as architectural decoration Granacci did not copy these coins haphazardly, but selected them with care to symbolize six aspects of the Baptist's mission and character. Two paintings are examined in detail to explore the attitudes of the artists toward these small antiquities. Most of the Cardinal's eleven hundred coins belonged to those types which are most common today, and the prices assigned to them in the inventory show that these objects were remarkably inexpensive, a conclusion supported by other Renaissance documents. An analysis of the coin collection of the Venetian Cardinal Pietro Barbo, recorded in the 1457 inventory of his treasures, reveals the abundance and variety of ancient coins during the Quattrocento. 1320) at least forty of these are demonstrably copied from antique coins. ![]() Especially important as evidence are the seventy-two portraits of Roman emperors on the margins of the autograph manuscript of Giovanni Mansionario's Historia imperialis (c. This study concentrates on two questions which have so far received little attention: which coins were known, or which were the most popular, during the Renaissance, and how were they used by the artists? Fourteenth century documents, including statements by Petrarch, indicate that coin-collecting was already widespread in Italy at the beginning of the Renaissance. Greek and Roman coins were enthusiastically collected by Renaissance princes and scholars, and provided a rich pool of antique imagery for the painters and sculptors. JOHN CUNNALLY, University of Pennsylvania THE ROLE OF GREEK AND ROMAN COINS IN THE ART OF THE ITALIAN RENAISSANCE ![]()
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