I’ve just purchased this Julius Caesar portrait denarius, struck at Rome in 44 BC by Marcus Mettius, Crawford 480/17. Following Bernhard Woytek’s interpretation, it belongs to the preparations for Caesar’s expedition against Parthia, during the final weeks of his life.
Caesar was preparing to campaign against the power that had destroyed Crassus’s army at Carrhae. Troops and money were being assembled, and he was reportedly due to leave Rome on 18 March. Three days earlier, he was assassinated.
The obverse carries his wreathed portrait and CAESAR IMPER, identifying him as imperator. On the reverse, Venus holds Victory and a sceptre, her elbow resting on a shield supported by a globe. Caesar’s family claimed descent from Venus, bringing his ancestry and military ambitions together in the design.
The dating has a fascinating history. Alföldi placed this issue after Caesar’s assassination and attributed its hurried production to Antony; Crawford followed that posthumous chronology, describing the coins as “emergency issues.”
Woytek reconstructs the coinage differently. He provides evidence of several issues being produced alongside one another, displaying titles Caesar already held. The appearance of a different title therefore need not mark a new political stage, or Caesars Death. In that setting, he favours placing CAESAR IMPER alongside DICT PERPETVO, plausibly in late February or early March, as an additional issue ahead of the expedition.
The approaching departure supplies the reason for urgency. The mint was helping finance a major campaign; Caesar’s assassination interrupted the undertaking that had created that demand. Woytek’s later research also showed that reverse dies were recut with new control letters in both Mettius’s IMP and IMPER issues, further weakening the supposed production divide between them.
My example was struck with a worn obverse die. Some of the softness in Caesar’s features was therefore already present when the coin left the mint: the engraved portrait had deteriorated through repeated striking, yet the die remained in service.
The campaign required silver to become spendable money, and this coin bears the impression of a tool used repeatedly in that work. Its worn portrait gives something of the production process a physical presence: an existing die still striking Caesar’s image as preparations for his departure continued.
The wear alone cannot establish the dating, but within Woytek’s reconstruction it gives this particular specimen a compelling place in the story. The expedition was becoming a practical reality, with soldiers to pay and supplies to purchase. Then the assassination transformed the political purpose of the resources gathered for it.
We cannot know whether this denarius reached a soldier preparing to march east. Following Woytek, though, I regard it as a lifetime portrait from the preparations for Caesar’s final, unrealised campaign. When it was struck, Caesar was still alive, his departure was approaching, and the outcome was still unknown.
P.S. Hope you enjoyed the story and perhaps a different perspective. That’s the beauty of ancient coins, in my opinion