Gallienus’s Zoo Series Antoninianus Coins
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Translation of the original article by Jason Turvey
Foreword: This article is a revision of the article I wrote in 2007 for the FW Numismatic Forum. In this updated version, I am removing all the notions about the rarity of types, busts, or variants that were partially incorrect and which I unfortunately could not correct as I no longer had access to that site.
The actual rarities of all the variants of this issue are available in Volume VI (Zoo Series) of my series of books dedicated to the coins of Gallienus minted in Rome.
I will not go into detail about the busts of Gallienus here as they will be the subject of a forthcoming article (and they are all described, illustrated, and sketched in my book mentioned above).
Finally, Maxime C., with his head in the stars, will propose an entirely new theory regarding the explanation of this Gallienus Zoo Series.
Why this series?
Gallienus reigned as co-emperor with Valerian from 253 to 260, and then after the capture of his father by the Sassanid King Shapur, he reigned alone from 260 to 268, during one of the most difficult periods of the Roman empire (if not the worst).
Not only did the empire have to face barbarian invasions, but it also had to deal with at least eight rebellions from its own governors and generals.
During this period, the rate of inflation rose significantly, and the antoninianus was gradually reduced in weight and silver content.
The sixth and final issue of Gallienus coinage commonly known as the “The Zoo Series,” was struck starting in 266AD (in rome mint) and invoked the Roman gods – Apollo, Diana, Liber Pater, Jupiter, Hercules, Neptune, Mercury, and Sol with an associated animal.
In some cases, the association is obvious, such as deer for Diana. For others, we must turn to specific mythical stories like Jupiter and the goat Amalthea.
Therefore, for each god or goddess, we will attempt to find the reasons for the invocation by analysing the personification on the coins, i.e., the animal depicted on the reverse.
Dianae
Diana (Artemis in Greek) is the goddess of the hunt, wilderness, chastity, and the moon. Her connection with the moon is closely related to her character as a celestial deity and her role as protector of animals and wild places.
She is prominently represented in the coinage of Gallienus.
This goddess is grave, severe, cruel, and even vindictive.
She punishes without mercy all those who provoke her resentment. She does not hesitate to destroy their crops, ravage their herds, inflict epidemics upon them, humiliate, and even cause the death of their children.
At the request of Latona, her mother, she joins Apollo to pierce with her arrows all the children of the unfortunate Niobe, who boasted about her numerous offspring.
She treats her nymphs with the same strictness if they forget their duties. Thus, Callisto had a bitter experience of this.
Diana is often depicted in statues, paintings, and mosaics as a huntress accompanied by the common stag, as on the Milanese coin illustrated above or on the statue of Diana of Versailles.
But she can also be represented by all kinds of deer, like the roe deer. Moreover, she can be accompanied by marvellous does with antlers, a feature that only the males have in nature..
Could the Zoo Series have two categories of animals? The deer of the West and the gazelle of the East?
Also note that Diana is sometimes a warrior deity, as shown on this antoninianus of Aemilian with the reverse DIANAE VICTRI.
The coins of the Zoo Series represent Diana with antelopes, gazelles, does, and stags. The reverse legend is DIANAE CONS AVG [To Diana, protector of the Augustus].
Diana and Apollo are often honoured as protectors of health. Therefore, Diana might relate to certain diseases like the plague, and it is also possible that requests for health could concern a wound Gallienus received during one of the battles against Postumus.
We see that Diana could have been invoked for several reasons:
- She punishes without mercy all those who have provoked her resentment (reference to the usurpers).
- Protector of the emperor’s health (Gallienus’ wound).
- Protector of the people’s health (plague).
Apollo
As we have seen Diana is intricately linked to Apollo.
When Apollo (the Sun) disappears on the horizon, Diana (the Moon) shines in the Heavens and discreetly spreads her light in the mysterious depths of the Night.
These two deities have different but similar functions: they alternately illuminate the world.
Apollo is the Greek archer god of solar clarity, reason, arts, and more specifically music and poetry. He is also the god of purification and healing but can also bring the plague with his bow. Finally, he is one of the principal gods capable of divination, consulted among others, at Delphi, where he channelled his prophecies through the high priestess Pythia.
He was also honoured by the Romans, who adopted him very quickly without changing his name. He is perhaps the most widely adored god in the entire Greco-Roman mythology and one of the most complex to understand. The fact that he is sometimes accompanied by muses explains his second name, the Musagetes (the leader of the muses).
Note though that Apollo is not among the most represented gods on Roman coinage, this could be explained by the fact that he is notably a Greek god. He has the same name in both Latin and Greek.
Like Diana, Apollo is often honoured as a protector of health. Thus, Diana and Apollo may be invoked for the same reasons, but if one protects Gallienus at night (the moon illuminates the night), the other protects him during the day.
In the Zoo Series, Apollo is represented in the form of a centaur and a griffin. The reverse legends are APOLLINI CONS AVG [To Apollo, protector of the Augustus].
The Centaurs
The centaurs on the coins with the legend APOLLONI CONS AVG are likely linked to Chiron.
In Greek mythology, Chiron is a centaur. He is the son of Cronus and the Oceanid Philyra. To escape his wife Rhea’s jealousy, Cronus transformed Philyra into a mare and himself into a stallion.
Hence, Chiron was born half-man, half-horse, and has the appearance of a centaur.
However, he stood out from other centaurs both by his origin (they were born of Ixion and a cloud) and by his character. Contrary to centaurs, who were crude and cruel beings, Chiron was renowned for his wisdom and knowledge. Artemis and Apollo had taught him hunting, medicine, music, and divination. Skilled in the knowledge of plants, he mastered the art of healing.
In mythology it is Chiron who advises Hercules (in his fourth labour) on how to capture the Erymanthian boar, a boar that we will find on the reverse of type 16 HECVLI CONS AVG. We therefore begin to notice a certain recurrence of the Herculean theme!
Centaur left
Here we find the centaur walking to the left, holding a globe and a rudder.
The globe and the rudder are normally attributes of Fortune. But why would a centaur hold these attributes in this context?
The globe here indicates the world, or the extent of the authority of the Roman Empire, and the rudder the direction to take.
The centaur here should probably be seen as wisdom and peace guiding the Roman world.
Centaur right
We also find the centaur to the right with a bow. This one can simply be depicted walking to the right and shooting a bow (type 2) or galloping, leaping to the right, and shooting a bow (type 3).
This is maybe a reference to the “battle of the Lapiths and the centaurs.”
Unlike other centaurs, Chiron was the son of Cronus, king of the Titans. Chiron had been the host of Heracles, who loved and esteemed him.
He joined this hero in his fight against the centaurs. During this combat, Heracles accidentally wounded him with an arrow that struck his foot. He tried to apply an ointment to the wound, but the injuries caused by these arrows were not healable. Finding the pain unbearable, Chiron, although immortal, asked the gods for death. They granted it after he bequeathed his immortality to Prometheus. It could also be Pholus, a centaur who wounded himself by accident on one of Heracles’ arrows and died from it.
Thus, Chiron and Apollo can be linked by archery, but the representation is not obvious and remains an enigma.
Griffin
The griffin is a mythological creature present in several ancient cultures. It is imagined and depicted with the front part of an eagle (head, wings, and talons) and the rear part of a lion.
Sometimes with variations – walking to the left (type 4), to the right (type 5), or seated (type 6) – the griffin will always retain the recognizable feature of being hieracosphinx (hawk-headed).
The griffin appears in Elam at the end of the 4th millennium BC and in Egypt around 3000 BC, with the body of a lion and the head and wings of an eagle. It is often found on Greek and Roman coins.
Throughout its ancient history, this primary form continued to be nuanced by various iconographic contributions, notably in Mesopotamian, Greek, and then Roman cultures.
The griffin is often associated with local deities and heroes (Gilgamesh, Ningishzida, Seth, Egyptian kings, Apollo, Dionysus, Eros, or Nemesis):
- sometimes pulling chariots (the chariot of the Mesopotamian storm god, Eros, Artemis, Dionysus, or Malakbel of Palmyra),
- carrying characters on its back (the Mesopotamian female deity holding snakes in her hands, Dionysus, Apollo, and sometimes a Nereid, as well as the deceased),
- participating in hunting scenes, fighting heroes, warriors, and enemies (including particularly the Arimaspi and Amazons),
- attacking wild, common, or mythological creatures (Sphinx, Scylla, centaurs, and tritons), standing facing its opponent with an object in-between (the oriental tree of life and palmette replaced in Roman art by a candelabrum, a vase, a lyre, or an Apollo tripod),
- And finally linking to the death cult (as a psychopomp animal or as a guardian of the underworld).
So, we see that the griffin is often associated, in antiquity, with certain deities, and frequently with Apollo. It should also be noted that in Hyperborean mythology, the griffin was the guardian of treasures and sacred sites. Apollo spent his winters in Hyperborea and the Griffin is often represented as a guardian in the temples of Apollo.
SOL
Coins with Sol on the reverse denote a development of the sun cult.
This cult, which was certainly not new, continued to grow with subsequent emperors (Aurelian, Probus, Maximinus II, Julian II…).
As with Gallienus, the sun cult was ubiquitously featured on the coinage of other emperors, such as Elagabalus for example.
In the Zoo Series, Sol is represented in the forms of Pegasus and the bull. The reverse legends are SOLI CONS AVG [To Sol, protector of the Augustus].
Pegasus
The coin type in question is supposed to represent Pegasus (son of Medusa and Poseidon), but what is the connection with the sun?
While some authors propose seeing it as one of the horses that pulled the sun god’s chariot across the sky (Carradice 1983, p188), Pegasus (a unique creature, the only horse with wings) is quite distinct from the other divine horses (whether for Helios or Apollo). In mythology, sky gods do not have wings. Neither the solar chariot nor the lunar chariot is depicted being pulled by winged horses. Iris flies without wings, as does Zeus. There is no need for wings when one is divine.
Can we see in the mythical origin of Pegasus an allusion to usurpers?
Indeed, after his birth, Pegasus immediately leaves the earth to join the gods.
He carries the thunder and lightning of Zeus. He is captured by the hero Bellerophon (or given to him by Athena), who manages to tame him and then uses him as a mount in his fight against the Chimera.
But when Bellerophon, seized with pride, wanted to ride to Olympus on him, Zeus sent a giant gadfly to sting the horse. In pain, Pegasus threw off his rider, who died in the fall, and the horse ascended alone to the sky, transformed into a constellation.
Frederic Weber, in our original 2007 article, suggested seeing here Gallienus’s refusal to recognize the Gallic emperor Postumus. Even though Bellerophon fought the Chimera alongside Pegasus (Postumus fought against barbarian invasions), he could not ride with him to Olympus, just as Postumus could not rule the empire with Gallienus.
But personally, I prefer to see a simpler and more plausible version: Gallienus invokes Pegasus on this issuance because it was thanks to him that Bellerophon fought so many monsters. Pegasus then becomes his mount.
The Bull
Once again, the connection with the protection of the sun is not obvious. It has been hypothesized that the bull might relate to what is reported in the Odyssey.
The Odyssey recounts that Helios (personification of the sun) has herds of oxen and sheep on the island of Thrinacia (Sicily).
Odysseus lands there during his return to Ithaca. Forewarned by the seer Tiresias, he forbids his men to touch the sacred herds.
Yet, while he sleeps, his famished men slaughter some of the sacred cattle. Helios demands vengeance from Zeus, who strikes Odysseus’s ship with lightning, sparing only him
In 2007, we suggested that this might be a similar warning expressed by Pegasus to the usurpers: not to touch Gallienus’s sacred herds.
But are there examples of bulls in Helios’s herd in the Odyssey here? It seems clearly to be a bull that could be linked to Julian’s solar bull. Or the Egyptian bull Apis? Perhaps we should delve into the mystery cults of the third century, like Mithras or Cybele, but we will come back to this later.
Jupiter
Jupiter is the Roman god of the Sky and Thunder. He is also the father of the gods.
Jupiter (or Zeus in Greek), say the poets, is the father, the king of gods and men; he reigns over Olympus, and with a nod he shakes the Universe.
Jupiter was the son of Rhea and Saturn, who devoured his children as soon as they were born. Vesta, his eldest daughter, Ceres, Pluto, and Neptune had already been devoured when Rhea, wanting to save her child, took refuge in Crete, in the Dikteon cave, where she gave birth to Jupiter and Juno simultaneously. Juno was devoured by Saturn.
As for the young Jupiter, Rhea had him nourished by Adrastea and Ida, two nymphs of Crete, known as the Melisses, and entrusted his infancy to the Curetes, ancient inhabitants of the region. To deceive her husband, Rhea made him swallow a stone wrapped in swaddling clothes. The Melisses fed Jupiter with the milk of the goat Amalthea and honey from Mount Ida in Crete.
![Antoninianus of Valerian II with the reverse IOVI CRESCENTI [to Jupiter who grows]](https://www.gallienus-coins.net/wp-content/uploads/2024/08/iovi_crescenti.png)
It is the goat Amalthea, his nurse, who represents Jupiter on the bestiary issue. The reverse legends are IOVI CONS AVG [To Jupiter the protector of the august].
It is the goat Amalthea, his nurse, who represents Jupiter on the bestiary issue. The reverse legends are IOVI CONS AVG [To Jupiter the protector of the august].
She is depicted facing left (type 17) or right (type 18), and this type is mostly minted in workshop 6 (sigma).
Normally, Jupiter’s symbol is the eagle, which was not chosen for this series (probably to avoid confusion with the “consecratio” issues, which were immensely popular and issued for many emperors).
So perhaps one might see in this goat a kind of numismatic sacrifice because the most common victims sacrificed to Jupiter were the goat, the sheep, and the white bull (whose horns were carefully gilded).
Liber
Liber represents Dionysus (Bacchus).
In Greek mythology, Dionysus is the god of the junctions of opposites and ambiguities (life-death, man-woman, vine, wine and its excesses-ivy soporific, chthonic god-solar god, foreigner, barbarian-Greek god almost master of Olympus).
He is the son of Zeus and the mortal Semele. The Romans assimilated him to Bacchus. Depending on the lists, he is included or not among the twelve Olympians, even though he does not reside on Mount Olympus (he is essentially a wandering god).
We can see that Gallienus invokes Liber because he is the god of the junctions of opposites and ambiguities (Gallienus vs. usurpers), and we must not forget that LIBER is the god who set out to conquer the East (possible link with the Sassanids).
The panther represents LIBER in this series. The reverse legends are LIBERO P CONS AVG [To Liber, the father protector of the emperor]. The panther is depicted walking to the left (type 19) and rarely to the right (type 20).
The Panther
According to mythological accounts, Dionysus had a tumultuous youth filled with adventures. The Iliad recounts how he was initially pursued by Lycurgus, a formidable adversary. Later, he was captured in a very precarious situation by Tyrrhenian pirates.
However, what distinguishes Dionysus in these legends is his ability to perform impressive feats to evade his captors. One of his most famous feats is his transformation into a panther, a creature symbolizing cunning and power.
By associating Gallienus with the panther, the coins may symbolize his resilience, cunning, and strength in protecting the Roman Empire against adversaries, much like Dionysus used his transformation into a panther to overcome his own obstacles.
This symbolism reinforces the image of Gallienus as a determined emperor, capable of overcoming challenges and defending the Roman Empire against the numerous dangers that threatened it at the time.
The panther on Gallienus’ coins thus becomes a powerful symbol of his ability to transform adversity into triumph.
Neptune
Neptune, in Roman mythology, is the god of the Seas and Oceans, as well as the aquatic realm, equivalent to Poseidon in Greek mythology.
Brother of Jupiter and Pluto, he participated in the division of the world with them. The underworld went to Pluto, the skies to Jupiter, the waters to Neptune, and the earth was common to all gods. As the god of the sea, he is the one who shakes the earth during earthquakes. Horses are devoted to him, in both their terrestrial and aquatic versions (hippocamps). He is generally recognized by his trident (originally a fishing weapon).
Why Call Neptune for Help?
In a way, Neptune protects the Roman fleet.
Moreover, mythology tells us that he governs his realm with unshakeable calm. From the depths of the sea where his peaceful abode is located, he is aware of everything happening on the surface of the waters. Whether impetuous winds indiscriminately spread waves on the shores or cause unjust shipwrecks, Neptune appears and, with noble serenity, returns the waters to their bed, opens channels through shallow areas, lifts ships caught on rocks or sunk in sands with his trident, and in short, restores order after storms.
Gallien calls upon Neptune to calm the waters, and with his trident set ships afloat. To restore order after the storm.
In the zoo series, NEPTUNE is represented by the Hippocampus and the Capricorn. The reverse legends are NEPTVNO CONS AVG [To Neptune, protector of the emperor].
The Hippocampus
In mythology, his symbol is the sea horse. In numerous artistic representations and mythological descriptions, Neptune is depicted riding a chariot pulled by hippocampi.
Thus, there is no problem with the hippocampus being represented in the zoo series.
The Capricorn
Regarding the Capricorn, its use may seem more ambiguous. Except in a cosmic and astrological context: Gallien is under good stars; but we will see this a bit later.
The Capricorn is a hybrid creature with the lower body of a fish and upper body of a goat.
In Roman mythology, it is often associated with the sea and the power of Neptune.
Most researchers believe that the inclusion of the Capricorn in the zoo series may be due to minting errors or specific regional symbols, but the solution likely lies elsewhere.
Indeed, the Capricorn is found on many coins of Augustus (it was his favourite sign). Let us recall that during the series issued in Rome for the decennalia, multiple gold coins with the reverse dedicated to Augustus, the founder of the Empire, were minted.
Gallienus is the new Augustus.
Juno
Juno, for Empress Salonina
In Roman mythology, Juno is the queen of the gods and the queen of the sky.
Daughter of Rhea and Saturn, she is both the sister and wife of Jupiter.
As the protector of women, she symbolizes marriage when depicted veiled and is associated with fertility when holding the pomegranate.
The sixth month of the Roman calendar is said to have been named June in her honour by the Romans.
In the bestiary series, JUNO is represented as a doe or a goat, but based on the beard, it is more likely a goat. The reverse legends are IVNONI CONS AVG [To Juno, protector of the empress].
In Lanuvium, Italy, the tutelary Juno wore a goat skin, a javelin, a small shield, and shoes with pointed toes.
This guides us in attributing the goat to her.
Her favourite animal was the peacock, but it was likely avoided to prevent confusion with the classic minting of Juno (with a peacock at her feet, as seen on the aureus of Julia Domna illustrated above).
In 2007, it was noted that Juno also presided over money, hence her nickname Moneta, and perhaps this was a call to Juno to help Gallienus restore monetary order.
But Moneta predates money: money comes from Moneta, not the other way around, and Juno has not been associated with money since Domitian.
Mercury
Mercury (Hermes in Greek) is the god of Commerce, Travel, and the messenger of the other gods in ancient Rome/the Roman Empire.
The invocation of Mercury thus has several purposes:
- To restore the economy (God of commerce)
- To protect Gallienus in his numerous travels
- And especially to convey Gallienus’ message to the other invoked gods
The coins of the bestiary series represent Mercury with the Criocamp. The reverse legend is MERCVRIO CONS AVG [To Mercury, protector of the emperor].
The Criocamp
The traditional attributes of Mercury are:
- The purse – most often held in hand
- Pegasus
- The caduceus
- Winged sandals and/or a winged petasus (hat)
- A rooster and/or a goat
In the zoo series, he is represented by a Criocamp, a kind of sea ram, thus representing an attribute of Mercury.
Hercules
Hercules, originally named Alcides, the son of Zeus and a mortal woman, is one of the most revered heroes of ancient Greece. Greek mythology attributes a vast number of adventures to him, seeing him travel through the known world of the Dorians and then the entire Mediterranean from the expansion of Greater Greece, down to the Underworld. His twelve labours are the most famous but represent only a small part of his heroic deeds.
There is no need to specify that the successive tasks of Gallienus over the years can be seen as akin to the twelve labours of Hercules, especially in his efforts to eradicate monsters in the West and East.
The zoo series includes two of the twelve labours that Hercules performed: the lion of Mount Cithaeron and the capture of the Erymanthian boar. The reverse legends are HERCVLI CONS AVG [To Hercules, protector of the emperor].
The Lion
The lion of Mount Cithaeron, near Thebes, terrorized the kingdom of Creon and Thespios and no hunter dared to confront the animal.
At eighteen, Heracles achieved his first feat by killing the lion using his club, which was carved from a single piece of a wild olive tree uprooted on Helicon.
Heracles skinned the beast and wore its head as a helmet. According to some, this was the skin of the Nemean lion.
The Boar
The third labour of Heracles was to capture the Erymanthian boar alive.
This wild beast caused destruction in the territory of Psophis, descending from Mount Erymanthos in Arcadia.
The depiction of Hercules’ labours on Gallienus’ coins can be seen as a powerful metaphor illustrating the trials and challenges the Roman emperor had to overcome to govern successfully.
This enhances Gallienus’ heroic character and his ability to face challenges like those of Hercules in antiquity.
Siscia
The last coinage produced at Siscia before Gallienus’ disappearance (February/early June or September 268) continued the zoo series.
This parallel series issued by the Balkan mint is now attested by a small set of twenty-two antoniniani divided into two series, one without a mark and the other bearing the SI signature.
We will return to this series in detail in a future article.
A possible interpretation hypothesis for the issue?
An interpretation hypothesis for this series could be related to Gallienus’ desire to portray himself as a resilient and heroic figure, much like Hercules, who conquered great challenges and protected the Roman Empire from numerous threats. By invoking mythological symbols and deities, Gallienus aimed to reinforce his image as a strong and capable leader in the eyes of his subjects and rivals.
What Could Be the Meaning of This Coin Series That Seems Particularly Coherent?
First, we are surprised by the absence of some usual figures on the coins of that era: allegorical deities such as Virtus, Felicitas, Aequitas, and gods and goddesses like Minerva or Mars.
We also notice specifically astronomical or even astrological reverses (in antiquity, these terms were often synonymous), such as Capricorn and Sagittarius, which can be extended to other elements of these coins that are also constellations, like Taurus, Centaurus, Pegasus, or Hercules.
Thus, one might wonder if this series has an astrological significance.
We also observe that other figures in the series may have a celestial dimension. Sol is obviously the sun. Diana is associated with the moon. Apollo is also linked to the sun, but he is also the protagonist of many catasterisms, those legends behind the constellations and celestial objects. Jupiter and Mercury are gods but also planets.
We could then try to correspond other elements of this series with celestial objects (Amalthea and the Goat at the origin of Capricorn, Liber with the Crown, the Criocamp with Aries, Juno with the Milky Way…), but the reasoning would sometimes be more or less far-fetched intellectual acrobatics. Neptune and the hippocampus, as well as the boar, however, resist interpretation.
If this series had an astrological significance, it could be seen as the proclamation of a cosmic destiny for Gallienus, promised to success by the stars and the cosmos. We know how sensitive emperors were to this, particularly Augustus with his favourite sign of Capricorn.
We might also see a reference to his Eleusinian initiation: the images and names could echo the vision of the cosmos and the mysteries revealed to the emperor. By nature, we know little about the mysteries, but the few elements we seem to understand often relate to the heavens and the stars (the Sun and the Moon for Mithra, the Gemini/Cabiri for the mysteries of Samothrace, the Fish and the Ram for the Danubian Horsemen…).
Could the Zoo series be an astrological and cosmic series? And was it even meant to be understood?
Bibliography
Wolkow Cédric, Catalogue des monnaies romaines – Gallien – L’émission dite » Du Bestiaire » – atelier de Rome (édition 2019).
Also available on Amazon
- Carradice, « Appendix 5. The Animals on the ‘Cons Aug » Coins of Gallienus’, in E. Besly & R. Bland, The Cunetio Treasure. Roman Coinage of the Third Century AD, London (1983), pp. 188-94.
- Doyen, Les Conservatores Augusti : une émission du « Bestiaire » de Gallien à Siscia (267/268 apr. J.-C.), Bulletin du Cercle d’Études Numismatiques, 2023, 60 (3), pp.10-16.
- Hygin, L’Astronomie, texte établi et traduit par André Le Boeuffle, C.U.F., Paris, 2002
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Origin of the images
- Cameo representing the capture of the Roman emperor Valerian (253-260) by the Sassanid King Shapur I ©Bnf
- Diana the Huntress on antoninianus of Milan, Classical Numismatic Group, Electronic Auction 343, Lot 548
- Diana as Luna on antoninianus of Antioch, Classical Numismatic Group, Electronic Auction 231, Lot 200
- Aemilien, revers Diana Victri, Classical Numismatic Group, Electronic Auction 544, Lot 547
- Denarius of the Republic with Apollo on the obverse, Classical Numismatic Group, Triton Xxiv, Lot 941
- centaur and a Lapith, Stater, Numismatica Ars Classica, Auction 84, Lot 636
- Tauric Chersonese, stater, Numismatica Ars Classica, Auction 138, Lot 156
- Griffin to left, Classical Numismatic Group, Electronic Auction 496, Lot 637
- As of Aurelian, Classical Numismatic Group, Electronic Auction 108, Lot 286
- Elagabale, denarius SANCT DEO SOL, collection Mcalee, Classical Numismatic Group, Electronic Auction 475, Lot 203
- Corinthe – Septime Sevère – Bellerophon & Pégase, Stock Bnumis
- Pegasus left N° 25a1, Leu Numismatik, Web Auction 27, Lot 1996
- Antoninianus of Valerian II with the reverse IOVI CRESCENTI, Classical Numismatic Group, Triton Xxiv, Lot 1139
- Liber on the obverse of a republican denarius, Numismatica Ars Classica, Spring Sale 2020, Lot 588
- As d of Agrippa, Auktionshaus H. D. Rauch, Auction 102, Lot 31
- Aureus, Auguste, capricorn, Numismatica Ars Classica, Auction 127, Lot 301
- Gallienus, Aureus DEO AUGVSTO, Classical Numismatic Group, Triton Xxvii, Lot 6296
- Julia Domna, aureus, Numismatica Ars Classica, Auction 105, Lot 59
- Denarius withJUNON MONETA, Numismatica Ars Classica, Vente 63, Lot 213
- Maximianus Herculus, Aureus, Numismatica Genevensis, Auction 13, Lot 90
- Detail of the Farnese Atlas (Naples museum ), photo Sailko, CC