Julia Titi Dupondius, RIC II, Part 1 (second edition) Titus 398

Monetary Context and Denominational Role

Within the monetary system established under Augustus and maintained by the Flavian emperors, the dupondius occupied a vital intermediate position between the larger bronze sestertius and the copper as. Tariffed at two asses or half a sestertius, the dupondius was typically struck in orichalcum, a golden-toned copper-zinc alloy that distinguished it visually and metallurgically from the pure copper as. During the brief reign of Titus from 79 to 81 AD, imperial coinage fulfilled crucial administrative, commercial, and ideological roles. Issues bearing the image of imperial women were not merely honorific; they integrated the imperial household into the official currency of the state. Following the elevation of Julia Titi to the rank of Augusta, coins such as RIC II, Part 1 (second edition) Titus 398 projected female dynastic continuity at a time when Titus had no surviving male sons. The dupondius thus served as everyday medium-value cash in daily retail transactions while conveying public messaging regarding the stability of the imperial lineage.

Mint Organization and Production Techniques

This dupondius issue was struck exclusively at the principal imperial mint situated in Rome. Operating under the administrative oversight of the equestrian procurator monetae and the traditional senatorial college of the tresviri monetales, the Rome mint was organized into specialized workshops or officinae capable of handling high-volume base-metal production. Blanks for orichalcum coinage were cast in open or bivalve mould matrices and then hammered into planchets before striking. The coins were manually struck between hardened iron or bronze dies, with the lower die fixed into an anvil and the upper reverse die held in place with tongs or a punch. While specific mint workshop allocations for female dynastic types under Titus remain a subject of numismatic inquiry, the stylistic uniformity of the portraiture and reverse composition indicates that highly skilled engravers were tasked with executing Julia's official imperial image. As with contemporary Flavian aes issues, die axes for this type generally exhibit regular six o'clock or twelve o'clock alignments.

Obverse Typology and Imperial Iconography

The obverse of RIC II, Part 1 (second edition) Titus 398 features a draped bust of Julia Titi facing to the right. The iconography provides an official portrait of the young Augusta, rendered with great attention to aristocratic fashion. Her hair is coiffed in the elaborate Flavian court style, characterized by a high, rounded diadem-like mass of tightly curled ringlets towering over the forehead, while the remaining hair is combed back, braided, and gathered into a neat chignon or bun resting at the nape of the neck. The drapery wraps around the shoulders, conveying modest Roman matronal dignity while simultaneously celebrating her elevated imperial stature. Unlike male portraits on dupondii, which typically wore a radiate crown to signal the two-as denomination, female portraits lacked such crown distinctions, relying on the yellow tint of orichalcum and standard size metrics to signify the denomination to ancient users.

Reverse Typology and Religious Symbolism

The reverse features the goddess Vesta seated facing left on a throne. In her extended right hand, she holds the Palladium, the archaic and sacred image of Minerva rescued from Troy, which symbolized the eternal safety and preservation of Rome. In her left hand, she holds a transverse or upright sceptre, the conventional attribute of majesty and divine power. The presence of Vesta on coinage honoring imperial women was deeply rooted in Julio-Claudian and Flavian tradition. Vesta presided over the domestic hearth and the perpetual sacred fire of the Roman state, guarded by the Vestal Virgins. By associating Julia Titi with Vesta and the Palladium, the imperial administration linked the emperor's daughter with sacred feminine guardianship, ritual purity, and the endurance of the Roman commonwealth. Flanking the seated deity in the lower field are the large letters S and C, denoting the formulaic confirmation Senatus Consulto.

Inscriptional Formulas and Epigraphy

The obverse legend reads IVLIA IMP T AVG F AVGVSTA, curving clockwise along the outer rim. This inscription translates to 'Julia, Augusta, daughter of the Emperor Titus Augustus.' The epigraphy succinctly articulates both her paternal descent and her personal rank: IMP T AVG F establishes her direct relationship to the ruling princeps Titus, while AVGVSTA records the supreme honor conferred upon her. The reverse legend is simple and direct: VESTA, positioned across the upper field above the seated figure, accompanied by S C in the lower left and right fields. The epigraphy is cut in classical Roman capital lettering with clear serifs. The inclusion of the senatorial formula S C reflects the traditional division of coinage authority dating to the Augustan settlement, maintaining the legal fiction that base-metal aes denominations were struck under the authority of the Senate, even as direct administrative control resided with the emperor.

Typology, Die Variations, and Chronological Placement

Catalogued as RIC II, Part 1 (second edition) Titus 398, this type represents a clearly defined entry in Flavian imperial numismatics, corresponding to the older catalogue classification of RIC II (first edition) Titus 180. The issue belongs securely to the final phase of Titus's reign, dating between 80 and 81 AD. Julia was awarded the title of Augusta during her father's principate, triggering a suite of precious-metal and aes denominations struck in her name. While the core design remained strictly standardized across the series, minor variations in die engraving can be observed, particularly in the density of the curls in Julia's towering coiffure and the exact posture of Vesta's throne. This type belongs to a small family of dupondii and asses produced for Julia at the Rome mint, standing alongside other reverse designs such as Ceres and Salus that similarly extolled female virtues and dynastic prosperity.

Circulation Patterns and Monetary Survival

Dupondii of Julia Titi were released directly into the commercial economy of Rome and rapidly dispersed across Italy and the western provinces, including Gaul, Hispania, and Britain. As utility bronze coinage, these pieces experienced extensive circulation, often remaining in active use for decades alongside earlier Julio-Claudian and subsequent Antonine aes issues. Archaeological recovery of Flavian bronze indicates that dupondii frequently suffered heavy surface abrasion and corrosion before being lost or discarded. Over time, circulating wear softened the intricate detail of Julia's hair and Vesta's attributes, though the broad flan and bold legends typically allowed continued denominational identification. Surviving specimens are documented in major public and institutional collections, providing primary archaeological and epigraphic evidence for the public elevation of imperial women during the Flavian dynasty.

References

1. The Roman Imperial Coinage, Vol. II, Part 1: Vespasian to Domitian (second edition). p. 219, no. 398
2. Coins of the Roman Empire in the British Museum, Vol. II: Vespasian to Domitian. pp. 280-281
3. Online Coins of the Roman Empire: RIC II, Part 1 (second edition) Titus 398. ric.2_1(2).tit.398