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The “golden” virtues of Roman empresses

Written by Antonio Alejandro Piccolo

The concord

In the previous post on our Blog, we examined the aureus of Tiberius, along with the denarius of the same type, and we saw how the allegorical personification on the reverse serves as a celebration of Livia, mother of the emperor and wife of Augustus.

Another coin featured in our Auction 10 allows us to delve more directly into the feminine sphere of imperial power: the aureus of Sabina, presented in lot 96.

The aureus of Sabina

This is the aureus struck in the name of Empress Sabina during the reign of Hadrian (117–138 AD), where the names of both spouses appear in the obverse legend.

Nomisma Aste, Asta 10, Lotto 96, Sabina (86-136) Aureo, fronte

Auction 10, Lot 96, Sabina (86-136) Aureo, – D/ Busto a dx diademato della moglie di Adriano. “SABINA AUGUSTA-HADRIANI AUG”. R/ La Concordia seduta a sx con patera e scettro. “CONCORDIA-AUG”. – C. 1429 AU (g 7,05), obverse

The portrait of Sabina, rendered with psychological realism, features an elaborate hairstyle, rising in waves above a stephane—a crown of Hellenistic tradition—before falling gracefully into a beautiful braid at the back. The bust is draped elegantly over the shoulders.

The diadem encircling the Augusta’s head, simple yet refined, is a courtly nod to the Hellenizing fashion promoted by Hadrian himself. The emperor, a great admirer of Greek art and philosophy, had lived in Athens during his youth, where he held important offices. Throughout his reign, he frequently traveled through Greek territories, and his passionate philhellenism greatly contributed to the cultural integration of the diverse peoples of the empire.

On the reverse of this precious aureus, we find Concordia Augusta, seated on a high-backed throne, holding a patera (a sacrificial bowl) in her right hand and a scepter in her left.

Nomisma Aste, Asta 10, Lotto 96, Sabina (86-136) Aureo, rovescio

Auction 10, Lot 96, Sabina (86-136) Aureo, – D/ Busto a dx diademato della moglie di Adriano. “SABINA AUGUSTA-HADRIANI AUG”. R/ La Concordia seduta a sx con patera e scettro. “CONCORDIA-AUG”. – C. 1429 AU (g 7,05), reverse

Originally a deity personifying political unity as well as family affection, particularly between spouses, Concordia Augusta during the Imperial age came to symbolize the domestic harmony of the Imperial Household, merging both the public and private aspects of the deity’s nature. For this reason, Concordia is frequently depicted on the coinage of the empresses.

Of course, imperial propaganda, as conveyed through coinage, is one thing—reality is another. We won’t delve into the disastrous marriage between Sabina and Hadrian here: a relationship that was, at times, purely platonic, but largely loveless and filled with mutual disdain. Both partners sought consolation in extramarital affairs, though history has immortalized only Hadrian for his love of the young Antinous.

Whatever the private nature of their relationship, Sabina publicly enjoyed the rank and honors due to her position. In 128 AD, she was granted the title of Augusta, and from then on, her portrait appeared regularly on coinage. In fact, it is estimated that more coins were struck bearing Sabina’s image than for any previous empress, featuring a wide variety of portraits.

It is important to understand why Sabina’s coinage was so significant. Sabina was the daughter of Matidia, the niece of Trajan, to whom both Trajan and his wife, Plotina, were very close. Thanks to Plotina’s influence, Trajan consented to the marriage of Hadrian and Sabina; later, the empress also supported Hadrian’s adoption by Trajan—an act that enabled Hadrian to succeed Trajan as emperor.

It can reasonably be argued that, following the deaths of Matidia (119 AD) and Plotina (122 AD), the continuous and abundant issue of coins bearing Sabina’s image served as a visual reminder of Hadrian’s connection to his predecessor, and thus as a documentary assertion of his legitimacy.

So, while Concordia Augusta may have been lacking in their personal marriage, it was certainly a golden virtue that Sabina—and before her, Plotina—lavishly extended to Hadrian in the political and institutional spheres.

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