Vespasian Dupondius, RIC II, Part 1 (second edition) Vespasian 579

Monetary Context and Denominational Function

The monetary system of the early Roman Empire relied on a bimetallic and base-metal hierarchy codified during the reign of Augustus and largely maintained by Vespasian after the upheaval of the civil wars of AD 68 to 69. Within this structure, the dupondius occupied an intermediary position, valued at two copper asses, one half of a brass sestertius, or one eighth of a silver denarius. While the sestertius served as both an accounting unit and a heavy brass vehicle for extensive ideological tableau, the dupondius and as constituted the everyday transactional medium for retail commerce, state payments, and local trade across Italy and western provinces. A perennial challenge in early imperial bronze minting was preventing confusion between the dupondius and the as, which were similar in diameter and flan module. To resolve this, Roman mint authorities systematically employed distinct alloys and visual signifiers: the as was struck in nearly pure red copper, whereas the dupondius was minted in golden-yellow orichalcum, a copper-zinc brass alloy. Following the practice standard since the reign of Nero, the imperial radiate crown was designated as the definitive denomination marker for the dupondius, instantly differentiating it from the laureate portrait of the as regardless of wear or surface toning.

Mint Location and Physical Production

RIC II, Part 1 (second edition) Vespasian 579 was produced exclusively at the imperial mint in Rome. Under the early Flavians, western base-metal output was heavily centralized at the capital mint, although supplementary production of bronze occurred during the early 70s AD at auxiliary centres such as Lugdunum and selected eastern workshops. Stylistic criteria, letterforms, and die-cutting idiosyncrasies firmly place this type within the output of the urban workshops of Rome. Production involved the casting of heated brass flans, which were prepared to targeted weight standards before being hand-hammered between engraved bronze or iron dies. The theoretical weight standard for the Flavian dupondius centered roughly around 12 to 14 grams, with diameters commonly measuring between 26 and 29 millimetres, though striking tolerances and manual blank preparation led to expected variations across surviving specimens. Striking required significant striking force to bring up the intricate high relief of the radiate crown and the delicate drapery of the seated Concordia.

Obverse Iconography and Imperial Portraiture

The obverse displays the head of Vespasian facing right, crowned with the radiate solar crown of Apollo. Flavian numismatic portraiture deliberately turned away from the idealized, youthful classicism favored by the Julio-Claudian dynasty, embracing instead a veristic style rooted in traditional Republican aristocratic portraiture. Vespasian is depicted as an older, seasoned military commander with pronounced jowls, broad cheekbones, deep-set eyes, and distinct furrows across the forehead. The radiate crown sits firmly on his cropped hair, its spiked points extending outward into the legend field. This crown served a dual purpose: practically, it distinguished the denomination as a dupondius, while symbolically it connected the princeps to divine celestial solar virtues and the promise of renewal. The engraving style is typical of the Rome mint in AD 73, exhibiting disciplined letter placement, balanced die architecture, and realistic facial modeling that conveyed administrative gravitas and steadfast authority.

Reverse Iconography and Concordian Symbolism

The reverse iconography depicts Concordia, the divine personification of agreement, mutual trust, and civic harmony, seated facing toward the left on an ornate throne. In her extended right hand she holds a patera, a shallow ritual libation dish employed during official sacrifices, signifying her piety and regular invocation by the imperial household and state religion. Cradled in her left arm rests a single cornucopia brimming with fruits and agricultural produce, illustrating the material abundance, peaceful fertility, and prosperity that legitimate civic unity brings to the empire. Flanking the seated figure in the lower lateral fields are the large letters S and C, denoting Senatus Consulto (by decree of the Senate). The incorporation of S C was an unbroken institutional convention for imperial base-metal coinage, underscoring senatorial sanction and constitutional continuity even as imperial administrative authority was firmly held by the Flavian house.

Epigraphy and Imperial Titulature

The obverse inscription reads IMP CAES VESP AVG P M T P COS IIII CENS, rendered in clear capital lettering along the perimeter of the die. In extended Latin, this formula represents Imperator Caesar Vespasianus Augustus, Pontifex Maximus, Tribunicia Potestate, Consul Quartum, Censor. The combination of military imperatorial acclaim (IMP), supreme pontifical authority (P M), civil tribunician sacrosanctity (T P), the fourth iteration of the ordinary consulship (COS IIII), and the censorship (CENS) constitutes a definitive chronological peg. Vespasian entered his fourth consulship on January 1, AD 72, continuing through AD 73, and assumed the joint censorship alongside his son Titus in the spring of AD 73. The reverse inscription reads CONCORDIA AVGVSTI, accompanied by S C in the field. This legend explicitly designates the harmony as imperial Concordia, attributing the restoration of public peace, political cohesion, and dynastic stability directly to the personal virtue and auspices of the reigning emperor.

Typology and Chronological Classification

In the standard classification established by Harold Mattingly and Edward A. Sydenham, and comprehensively revised by Ian Carradice and Theodore V. Buttrey in the second edition of Roman Imperial Coinage (RIC II, Part 1), this specific emission is catalogued as number 579. Its production is tightly circumscribed to AD 73 by the inclusion of CENS alongside COS IIII. Previous issues of AD 71 to 72 featured COS III or COS IIII without the censorial title, while subsequent bronze series struck from AD 74 onward recorded Vespasian's fifth and later consulships (COS V, COS VI, and beyond). RIC 579 belongs to a coherent suite of base-metal coins celebrating the consolidation of the Flavian dynasty during the censorial census, which included public lustration, the reorganization of senatorial and equestrian registers, and extensive architectural reconstruction in the city of Rome. Neighboring catalogued types share similar obverse portraiture but pair it with alternative reverse personifications such as Aequitas, Felicitas, or Victoria.

Circulation, Hoarding, and Archaeological Context

As an orichalcum fractional denomination, dupondii of this type circulated widely through urban markets, military camps, and provincial administrative settlements throughout the Roman world. While high-value gold and silver coinages were commonly stored in long-term savings deposits, base-metal fractions such as dupondii formed the regular currency of daily transactions, passing through many hands over decades. Archaeological site finds from military installations along the Rhine and Danube frontiers, as well as civilian settlements across Italy, Gaul, and Britannia, demonstrate that Flavian dupondii remained in active circulation well into the second century AD, often showing considerable surface wear and edge softening. Hoard evidence indicates that bronze coins of this era were frequently buried during periods of local unrest or deposited in commercial hoards alongside Trajanic and Hadrianic bronzes, reflecting their persistent utility and intrinsic metal value long after their initial issue.

References

1. Coins of the Roman Empire in the British Museum, Vol. II: Vespasian to Domitian. pp. 138-142
2. Vespasian as Censor. Historia: Zeitschrift für Alte Geschichte, vol. 21, no. 4, pp. 500-505
3. RIC II, Part 1 (second edition) Vespasian 579. Type record ric.2_1(2).ves.579
4. The Roman Imperial Coinage, Vol. II, Part 1: From AD 69 to 96: Vespasian to Domitian. p. 88, no. 579