Sestertius (Coin) Portraying Emperor Gordianus

About this artwork

The front (obverse) of this coin portrays the emperor Gordianus, facing right and wearing a crown of laurels. On the back (reverse), the goddess Victory is depicted standing, holding a palm front and a shield with a captive at her feet.

Art Historical Context

This bronze sestertius, struck during the reign of Emperor Gordian III238–244 CE), captures the youthful profile of the Roman emperor on its obverse, a common feature of imperial coinage designed to disseminate the ruler's image across the vast empire. Measuring just 2.9 cm in diameter this everyday currency from the chaotic "Year of the Six Emper" served not only as money but as propaganda, affirming Gordian III's legitimacy after the rapid turnover of leaders in 238 CE. As a teenage emperor propped up by the military and Senate, his portrayal emphasized stability and divine favor in turbulent times. Roman sestertii like this one were valued at a quarter of a silver denarius, making them accessible for trade and taxes while showcasing advanced minting techniques. Crafted by hammering heated bronze flans between engraved dies, the coin's detailed relief—likely featuring Gordian's laureled bust and a reverse with symbolic motifs like Victory or deities—reflected the empire's artistic prowess in micro-scale portraiture. These coins bridged art and politics, circulating stories of power from Rome to the provinces. Housed in the Art Institute of Chicago's Arts of Greece, Rome, and Byzantium department, this sestertius offers a tangible glimpse into daily Roman life and the fragility of imperial rule, reminding us how even pocket change shaped history.

About the Artist

Ancient Roman

The artists attributed to "Ancient Roman" in museum collections represent the anonymous craftsmen who produced the vast output of sculpture, frescoes, mosaics, and reliefs defining Roman visual culture from the Republic (c. 509–27 BCE) to the late Empire (c. 395 CE). Individual identities remain elusive, as Roman makers were typically viewed as skilled tradesmen—often enslaved Greeks or provincial...