AncientCoinnoisseur’s Collection

Greek Coins
SATRAPS OF CARIA
Maussollos (377–353 BC) AR Drachm
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This coin was minted in Halikarnassos by Mausolus, or Maussollos (Ancient Greek: Μαύσωλος or Μαύσσωλλος), a ruler of Caria (377–353 BCE) and a satrap of the Achaemenid Empire. After his death, his sister-wife, Artemisia II of Caria, built for him the Mausoleum at Halicarnassus, one of the 7 Wonders of the Ancient World. The very term Mausoleum was coined after Mausolus himself!

Continental Greece
Euboia, Histiaia AR Tetrobol
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Light cabinet tone with iridescent hues

Greek KINGS OF MACEDON
Alexander III 'The Great' (336–323 BC) AR Tetradrachm
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Struck under satrap of Babylon Stamenes or Archon.
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This coin was minted either in Babylon or by a travelling mint while Alexander was moving from Susa to Babylon. The coin possibly circulated in the vicinity of Alexander himself, and the people who held it either saw Alexander (alive or dead) or were probably in Babylon at the time of his death. We can only speculate as how close this coin got to Alexander or someone who knew him / saw him, but the minting year and the location make it one of the best candidates for "Closest coin to Alexander". Regardless of the actual proximity to the conqueror, the coin is an iconic type and one of the most historically important in my collection.
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The Nemean lion (Ancient Greek: Νεμέος λέων, romanized: Neméos léōn; Latin: Leo Nemeaeus) was a mythical lion in Greek mythology that lived at Nemea. Famously one of the mythical beasts killed by Heracles (Hercules) in his 12 labours. Because its golden fur was impervious to attack, it could not be killed with mortals' weapons. Its claws were sharper than mortals' swords and could cut through any strong armour. After Heracles killed the lion, its pelt (Leontè) would come to symbolize Heracles and his strength, being used in art to both recognize the myth itself and to draw connections between Heracles' heroism to others.

CAMPANIA, Neapolis AR Didrachm (Nomos)
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Parthenope (Ancient Greek: Παρθενόπη) was one of the sirens in Greek mythology. Her name means 'maiden-voiced' from parthenos (παρθένος, meaning fig. 'maiden/virgin') and ops (ὄψ, meaning 'appearance').

According to legend, Neapolis was founded by the siren Parthenope, who, according to Hesiod, was the daughter of Phorcus, while other sources indicate that she was sired by Acheloos and Terra or by the muse Melpomene.

According to the tradition collected in the Orphic Argonautics (5th century A.D.), the three sirens, Parthenope, Ligea and Leucosia, are beaten in song by Orpheus and in desperation throw themselves into the sea, where they are turned into rocks. In the better known Argonautics by Apollonius Rhodius (3rd century BC), their death is attributed to Odysseus' insensitivity to the malice of their song.

Originally, the three sirens were three maidens, handmaidens of the goddess Persephone and lived in ancient Hipponion (today Vibo Valentia). After the abduction of the goddess by Hades who took her to his kingdom to marry her, the three maidens were turned into sirens by the goddess Demeter for not preventing the abduction of her daughter Persephone.

The three sirens lost their humanity and began to bewitch sailors passing along the Vibonese coastline and then devour them, until they met Ulysses. On that occasion the sirens failed in their intent and committed suicide by throwing themselves into the sea out of frustration.

Their bodies were transported by the sea, so that Ligea ended up in Terina, Leucosia in Posidonia and Parthenope at the mouth of the river Sebeto, where the Cumanians, with the expulsion of the oligarchs in the climate of stasis (discord between factions) under the tyrant Aristodemus, would later found Neapolis.

CAMPANIA, Neapolis AR Drachm (Half Nomos)
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While didrachms from Neapolis are ubiquitous, drachms are much rarer, with just around 20 specimens on ACSearch as of today. This one, despite being a bit worn, is unusually complete and struck on a large flan, preserving all the main features.
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Parthenope (Ancient Greek: Παρθενόπη) was one of the sirens in Greek mythology. Her name means 'maiden-voiced' from parthenos (παρθένος, meaning fig. 'maiden/virgin') and ops (ὄψ, meaning 'appearance').
According to legend, Neapolis was founded by the siren Parthenope, who, according to Hesiod, was the daughter of Phorcus, while other sources indicate that she was sired by Acheloos and Terra or by the muse Melpomene.
According to the tradition collected in the Orphic Argonautics (5th century A.D.), the three sirens, Parthenope, Ligea and Leucosia, are beaten in song by Orpheus and in desperation throw themselves into the sea, where they are turned into rocks. In the better known Argonautics by Apollonius Rhodius (3rd century BC), their death is attributed to Odysseus' insensitivity to the malice of their song.
Originally, the three sirens were three maidens, handmaidens of the goddess Persephone and lived in ancient Hipponion (today Vibo Valentia). After the abduction of the goddess by Hades who took her to his kingdom to marry her, the three maidens were turned into sirens by the goddess Demeter for not preventing the abduction of her daughter Persephone.
The three sirens lost their humanity and began to bewitch sailors passing along the Vibonese coastline and then devour them, until they met Ulysses. On that occasion the sirens failed in their intent and committed suicide by throwing themselves into the sea out of frustration.
Their bodies were transported by the sea, so that Ligea ended up in Terina, Leucosia in Posidonia and Parthenope at the mouth of the river Sebeto, where the Cumanians, with the expulsion of the oligarchs in the climate of stasis (discord between factions) under the tyrant Aristodemus, would later found Neapolis.

Greek Italy
Bruttium, Rhegion AE 23 mm
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The kithara (Greek: κιθάρα, Romanised: kithára), Latinised as cithara (modern-day zither), was an ancient Greek musical instrument of the yoke lute family. It was a professional 7-stringed version of the lyre, which was considered a rustic or folk instrument, suitable for teaching music to beginners. Unlike the simpler lyre, the kithara was mainly used by professional musicians, called kitharodes. Today, the word kithara has become "chitarra" (in Italian) and “guitar” (in English), words etymologically derived from kithara.

This coin in particular shows a rare 7-stringed variant, while most of them have 4 strings or in some cases 6. See the link below for my study on the matter.

ISLANDS off CARIA
Rhodos AR 'Plinthophoric' Drachm
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Anaxidotos magistrate
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These drachms were called 'plinthophoric' from the Greek plinthos = brick or ingot, for the incuse square that contains the design.

The head of Helios might represent the Colossus of Rhodes, one of the 7 wonders of the Ancient world, particularly in a series of didrachms according to Richard Ashton. However, those didrachms were coined before the construction of the Colossus, while this drachm, belonging to Jenkins Group A, was coined around 35 years after the earthquake that caused the destruction of the Colossus, while the pieces were still visible (they stayed visible for a long time, as Pliny tells us). The profile is constant with time and with the different magistrates, and there are similarities with the facing head of Helios as well.

The reverse depicts a rose (Greek rhodon) and it refers to Rhodes as a canting symbol, making a sort of pun of the name.

Continental Greece
Macedon, under Roman Rule
Republican period. First Meris AR Tetradrachm
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Amphipolis mint (where Xena was from!)
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While there are many coins with a better looking Artemis, I've found that this coin in particular has an extremely nice and well preserved reverse, with all the details intact and a fantastic relief.
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After the defeat of Perseus at the Battle of Pydna in 168 BC, the Romans divided Macedonia into four autonomous administrative regions (merides). The first region (ΠPΩTEΣ) was located east of Strymon with its capital at Amphipolis, the second (ΔEYTEPAΣ) between Strymon and Axios with its capital at Thessalonica, the third between Axios and Peneos with its capital at Pella, and the fourth (TETAPTHΣ) comprised most of Upper Macedonia with its capital at Heraclea Lynci. These four regions lasted only until 148 BC, when the country was finally united to form a Roman province and proceeded to issue coins under the authority of its legatus pro praetore.

Livy informs us that initially all trade between regions, the exploitation of gold and silver mines and the import of salt were prohibited. Almost all the coinage of this period is minted in the name of the first region and parallels the mass mintings of Thasos and Maroneia from around 158 BC. The first region was the most prolific in coinage, with huge issues of tetradrachms and bronze. The second region had only two tetradrachm issues and the fourth had only two bronze issues. Coins from these two regions are very rare today. No coins are known from the third region.

Roman Republican
P. Licinius Nerva AR Denarius
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Another coin related to voting, along with my Quintus Cassius Longinus and Lucius Cassius Longinus ones.
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The moneyer is P. Licinius Nerva, praetor in 104 BC.
The obverse bears an artistic variant of the head of Roma while on the reverse is represented a voting scene. There is an elevation with planks at either end, the pons which led to the voting basket. The ponticulus of the Comitia, narrow passage to and from the court of assembly, wherein stands a citizen putting his vote to an attendant who handed each voter a small wooden tablet covered with wax on which he inscribed his vote: V (for uti rogas, to support a bill), A (for antiquo, to oppose a bill), or the candidate’s name in an election. He then dropped the tablet into a tall urn (cista). On it two men, custodes, took the place of the earlier rogator who is handing a voting tablet to a man who has to mark the ballot before coming up to the pons while the man to right is placing the vote in a cista, at the end of the plank. The men wear a toga which is binding during comitia. The two parallel lines were interpreted as division between voting units while the one above has a tablet with a P which presumebly reminds a tribe Papiria or Pupinia. The pontes were an ancient feature of comitia to cheek abuses by keeping the voters in view. The motivation behind the choice of this type is associated with C. Licinus Crassus tribunus plebis in 145 and C. Marius who “pontes..fecit angustos” (Cic., de leg., III,38) in his tribunate in 119 to remedy abuses by making them narrower, restricting the ability of the candidates or their agents from exerting undue influence on the voters as they were casting their votes. The issue seems a celebration of Marius’ tribunate and the voting scene on Nerva denarius a recall on the lex suffrages which was introduced by Marius. However it isn’t quite certain that the voting scene depicted on the reverse is a reference to the lex Maria of 119 BCE because it dates back to the plebian tribunate of Caius Marius in 119 BC, when Marius pursued a populares line, passing a law that restricted the interference of the wealthy in elections. Anyway it seems more likely that it was associated with Marius’ law than with the lex Licinia of 145 BCE.

Roman Republican
L. Cassius Longinus AR Denarius
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CASSIUS, THE TRIAL AND THE LEX CASSIA TABELLARIA

Lucius Cassius Longinus was the brother of Gaius Cassius Longinus, one of the leading instigators in the assassination of Julius Caesar.
Quintus Cassius Longinus (from another coin in my collection) was his brother or cousin.

The moneyer's grandfather, Lucius Cassius Longinus Ravilla, was a respected judge who, in 113 BC, presided over the re-trial of two of the three Vestal Virgins who were accused of incestum (being unchaste).

Aemilia was found guilty and sentenced to death by the Pontifex Maximus
Lucius Caecilius Metellus Dalmaticus in the first trial of 114 BC.
Licinia and Marcia were both acquitted. Ravilla found them guilty in the re-trial and they were both sentenced to be executed by being buried alive.

Finally, given the seriousness of the events, the Romans performed numerous purification rites in the city, including the foundation of a new temple dedicated to Venus and the human sacrifice of two Gauls and two Greeks, considered ancestral enemies of Rome and therefore perfect for appeasing divine wrath, who were also buried alive in the Forum Boarium.

This was the last documented instance of human sacrifice in Rome
In fact, at the time many already saw the practice as barbaric and inhuman, and in 97 BC the Senate finally made them illegal.

This obverse marks 50 years since those events had unfolded, while the reverse notes how, as a tribune of the plebs in 137 BC, Ravilla had successfully proposed in the Concilium Plebis the lex Cassia tabellaria, which extended the secret ballot for trials in the popular assembly. This law provided that in most court cases tried by jury, jurors could mark their verdict on a small tablet and drop it into a basket to be counted by a court official. The exception was cases of treason, where a voice vote or show of hands was required. The practice also extended to voting on laws proposed in the Comitia Tributa and Concilium Plebis, the people's assemblies.
This reverse commemorates that proposal becoming law.

The V on the tablet stands for VTI ROGAS, "I approve" of the proposed law.
In fact, the vote could be expressed either with:

• Consent (V or VR for VTI ROGAS - as you propose / I approve)
• Abstention (N or NL for NON LIQVET - it is not clear / we do not vote)
• Dissent (A or AP for ANTIQVA PROBO - I approve the old discipline)

Once the vote was over, the votes were counted (diribitio)
and the result of the vote was communicated to the people (renuntiatio).

A COOL EASTER EGG
This coin is interesting because it doesn't show the coiner's personal and family names. However, on the obverse, below Vesta's chin, there is a control letter, and the only letters used in this issue are L, C, A, S, Ƨ, I.
Collecting all of them, one can write his name in full (L. CASSI).

But why would he do this? In the case of L. Cassius Longinus this decision appears to be connected to the Catiline conspiracy's recent exposure and repression. Not to be confused with our coiner, one of the most well-known cospirators was also named L. Cassius Longinus, hence his name being hidden!

Roman Republican
Q. Cassius Longinus AR Denarius
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This coin is another commemorative one for the Trial of the Vestal Virgins.
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VESTA VARIANT
Other coins show a veiled head of Vesta and ‘Q • CASSIVS - VEST’ on the obverse.

THE STANDING FIGURE
Some identify the standing figure on top of the temple as the goddess Vesta, although the 'sceptre and patera’ appear in many other coins depicting different gods or even the emperors / their families.

FLAMES OR A GRIFFIN?
Some descriptions see the antefixes as griffin heads, although usually there’s no specific description of them. To me they resemble flames, like the eternal one in the temple.

THE CURULE SEAT
In Ancient Rome, the curule chair (sella curulis, probably from currus, “chariot”) was the seat upon which magistrates holding imperium were entitled to sit. It was a seat of power, and it was either present in the temple, or depicted as a symbol of the consul Longinus Ravilla.

THE VOTING URN AND THE BALLOT (TABELLA)
The voting urn on the left and the tablet (tabella) on the right are a further reference to the trial. The ballot is inscribed with the letters 'A' for 'Absolvo' (I acquit) and 'C' for 'Condemno' (I condemn), referring to the Vestal Virgins.

THE PALLADIUM
The Temple of Vesta saw many modifications through the years. It used to keep one of the most sacred objects of Ancient Rome: a statue of Pallas Athena, called the Palladium (Greek Παλλάδιον (Palladion)). It was said to have been stolen by Odysseus from Troy, and later brought to Rome by Aeneas.

Romans believed that the safety of Rome and its power depended on the safety of the Palladium and a few other sacred objects, called pignora imperii ("pledges of rule"). They were: 

1. The Cybele stone 
2. The quadriga of Veio 
3. The ashes of Orestes, son of King Agamemnon
4. The sceptre of Priam, last king of Troy
5. The veil of lliona, Priam's suicidal daughter
6. The Palladium, i.e. the sculpture made by Athena for her friend Pallas
7. The Ancilia, i.e. the 12 bilobed shields of the Salian priests, only one of which was the original - sent by Mars Gradivius to King Numa Pompilius as a pledge of Rome’s eternal invincibility.

THE TEMPLE THROUGH THE YEARS
The first Temple of Vesta was built by Numa Pompilius, the second king of the Roman Kingdom. He also built the original Regia ("king's house") and the House of the Vestal Virgins, and founded the priestly order of Vestal Virgins. The temple was destroyed and rebuilt many times.

The first destruction of the temple was by the Gauls in 390 BC. According to Ovid, the second destruction in 241 BC may have started because of the fire in the temple itself. During the fire, the Vestals were unable to collect the cult objects, and they were destroyed along with the Temple of Vesta. Lucius Caecilius Metellus, the Pontifex Maximus at the time, went into the burning temple to save the palladium. He was blinded by the flames, and it was believed that this was the result of him breaking the tradition of the temple which barres men from entering.

Fires also occurred again in 210 BC and again in the early first century BC. The temple was rebuilt again during the reigns of Augustus and Nero. Finally, it burned down in 191 AD and was rebuilt for the last time during the reign of Septimius Severus by his wife, Julia Domna.

Roman Imperatorial
Julius Caesar (49–44 BC) AR Denarius
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Coined by the moving mint of the Legio XIII Gemina (“twin legion”) that marched with Caesar when he crossed the Rubicon.
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There are many theories about the meaning of the scene: the strength of Caesar trampling his evil enemies; a commemoration of Caesar's victory at the Battle of Thapsus in 46 BC, where he defeated the forces of his political rival, Pompey, so effectively that it looks like an elephant trampling on a snake; a way of mocking Pompey because of his unfortunate public experiences with elephants; a symbol of Caesar's family, as one of his ancestors is said to have defeated an elephant and received his name for this reason, since “Caesai” was the Punic word for elephant, and so on.

Another interesting theory about the elephant is that Caesar is also appropriating the symbol of perhaps the most influential family of the Republic, the Metelli (see, for comparison, the coins of Quintus Caecilius Metellus Pius).

Whatever the interpretation, it remains an iconic design. Obverse and reverse are perhaps reversed, at least observing other coins of Caesar:
• ⁠RRC 452/2
• ⁠RRC 452/3
• ⁠RRC 452/4
• ⁠RRC 458/1
• ⁠RRC 468/1

Roman Republican
T. Carisius AR Denarius
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This coin contains the very history of money and its etymology.

On the obverse we see the goddess Juno Moneta, so called because she warned (from the Latin 'moneo') through her sacred geese the Roman commander Marcus Manlius Capitolinus of the approach of the Gauls in 390 BC.

From her it derives the term 'Moneta' (coin) in many languages, and even in English there is the word 'Monetary' (related to money)

She became associated with coins because from 273 BC, the Roman silver mint and its workshops were attached to her temple.

On the reverse, we see the minting tools:

• Cylindrical anvil, on the base of which the anvil die was embedded, which contained the obverse design. On the anvil die was placed the coin blank.
• Garlanded punch die / hammer die in the shape of a pileus (the headgear of Vulcan, god of fire, metalorking and the forge. Some say the punch die is actually the pileus cap and the other tools are just Vulcan / Hephaestus' tools)
• Tongs, needed to hold the heated metal flan / planchet in place or to hold the hammer die.
• Hammer, used to impress the reliefs with the force needed to make them accurate and legible on the finished coin.

Roman Imperial
Vepasian (69–79 AD) AR Denarius
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The coin was minted the year of the eruption of Vesuvius in 79 AD, the year of Vespasian's death after 10 years of reign, and the year of Titus' ascension. The capricorn (half-goat, half-fish) was a symbol adopted by Octavian Augustus (his sign of conception), and Vespasian sought to imitate the reverses of previous emperors, including the capricorn, to reconnect with them after the civil wars of 68-69 AD. The globe below the capricorn represents world domination. The type was also taken up by Titus.

Roman Imperial
Titus (79–81 AD) AR Denarius
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The elephant depicted on this issues shows one of the various species exhibited in the recently constructed Flavian Amphitheatre, more commonly referred to as the Colosseum, which was constructed by prisoners of the First Jewish War on the site of the Domus Aurea of Nero. The Colosseum was inaugurated to the public during the reign of Emperor Titus, on 21 April AD 80, and the occasion was celebrated by Martial in his work De Spectaculis. The opening ceremony was marked by a series of festivities that continued for more than 100 days. During the inaugural ceremonies, a significant number of animals, including elephants, were both exhibited and slaughtered. It has been hypothesised that the coin was distributed as a promotional token to the individuals attending the games.

Coined one year after the eruption of Mount Vesuvius that destroyed Pompeii and Herculaneum in 79 AD, imagine the stories this coin could tell! A person surviving the eruption could have gone to Rome the year after, attended the inauguration of the Colosseum and held this very coin while talking to a friend of his about the eruption.

Roman Imperial
Titus (79–81 AD) AR Denarius
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Part of a series of coins minted by Titus to appease the wrath of the gods following the eruption of Vesuvius in 79 AD, and the plague and great fire of 80 AD. As soon as he heard of the eruption of Vesuvius, he sent consulars to Campania with food and money for the survivors and ordered the distribution of the property of those who had died without heirs (Suetonius, De Vita Caesarum). Once the danger had passed, the curatores were charged with assessing what was needed so that the population could return to live in Pompeii, Herculaneum, Stabia, and Oplontis, but they had to realise that the destruction was such that there was nothing to be done and it was better to abandon the cities. The few survivors were relocated to less damaged areas and made habitable again; despite Titus' efforts, the region was so destroyed that it was not until the time of Hadrian (120 AD) that the road system became efficient again.

The following year, 80 A.D., was the great fire of Rome that broke out while Titus was in Campania coordinating post-eruption aid. Cassius Dione recounts that it ‘burnt the time of Isis, the Saepta, the time of Neptune, the baths of Agrippa, the Pantheon, the Diribitorium, the theatre of Balbus, the box of Pompey's theatre, the buildings and libraries of Octavian, and the temple of Jupiter Capitolinus with the surrounding temples.’

Much of the precious metal coinage of Titus' short reign was devoted to depictions of a curious series of symbolic religious types. These commemorate the prayer and propitiatory services through which the emperor sought to allay public alarm at these distressing events. Thrones were set up for the gods and goddesses in pairs, each surmounted not by an image of the deity but by an emblem. These were displayed to gain the approval of the gods, representing an act of atonement, and by this means it was hoped to avoid further catastrophes. Thus, we see types such as a seat or table surmounted by a thunderbolt (symbolising Jupiter) or an ornate diadem (Juno); a dolphin entwined around an anchor, representing Neptune; a tripod surmounted by a dolphin, signifying Apollo; and a curule chair surmounted by a crown, recalling the divas, the former rulers of Rome who were deified, such as Augustus, Claudius and Titus' own father, Vespasian. Similar types appeared on coins at the beginning of the reign of Titus' younger brother Domitian. They probably refer to a further act of atonement in connection with the plague and fire of AD 80. N.B. According to Dámsky this type is related to the inauguration of the Colosseum, and part of the series of the “pulvinaria”, the seats placed to watch performances (in the Circus Maximus, the Colosseum, etc.) [See Elkins' quote here: https://www.sullacoins.com/post/make-haste-slowly)

The symbol is also found in several mosaics on the island of Delos, dear to Apollo. In particular, the trident house, possibly belonging to a merchant or ship owner, and a cavern in the theatre quarter. (The mosaics of Delos are dated ~70-200 BC).

The coin was shown by Pietro Bembo to Aldus Manutius, who adopted the wrapped dolphin at anchor as his typographic mark. Erasmus of Rotterdam writes about it:

«...The concept is this: 'Hasten slowly, for one who acts cautiously and without error is better than one who is bold and confident. Indeed, those actions that are reasoned with slow decisions are safer than those hastened by impatient intentions. That the same saying appealed to Titus Vespasian is easily understood from his very ancient coins, of which Aldo Manuzio showed me a silver one, undoubtedly of ancient Roman coinage, which he said was a gift sent to him by Pietro Bembo, a Venetian patrician, a very erudite young man, and a careful investigator of all literary antiquities. The figures represented on the coin were as follows: on one side the face of Titus Vespasian with an inscription, and on the other an anchor, the half or rudder of which was clasped by a twisted dolphin...»

(Affrettati lentamente (Festina lente) edl Erasmus of Rotterdam, 1508)

Paolo Manuzio retains his father Aldo's mark: a dolphin gripping an anchor, with the caption AL-DVS. Erasmus of Rotterdam wrote about the meaning of the image, commenting on the motto Festina lente, with a precise reference to Aldo's typographic brand.'Hasten slowly' is how we can translate the adage. Erasmus recalls two Roman emperors who held it dear: Augustus and Vespasian. The former used it frequently in his daily conversation and quoted it in his letters, exhorting with these two words:

so that what must be done should be done quickly and with the slowness of the most meticulous care.

Erasmus recalls an ancient silver coin that had been shown to him by Aldo Manuzio. A coin issued by Vespasian and donated to the printer by Pietro Bembo:

[...] on one side was the profile of Titus Vespasian with an inscription, on the other an anchor, with a dolphin wrapped around its shaft.

To understand the symbol one must refer, he says, to the figurative wisdom of the ancient Egyptians: hieroglyphics. The coin is round and the image is therefore inscribed in a circle, representing eternity, without beginning and without end. The anchor, which binds and holds the ships, indicates slowness. The dolphin, faster and more agile than any other animal, indicates speed. Semper festina lente.After the ancient philosophers and the two great Roman emperors, Aldo is the first to take up the ancient adage, translated into the image that has deservedly become his motto. Motto and image, Erasmus goes on to say, can be applied in three different ways:

[...] the first when we want to indicate that one must think long and hard before beginning a task, but, once a decision has been made, one must complete it quickly: and so the anchor signifies the time required for reflection, the dolphin the speed of execution. [...] Another use is when we mean that emotions must be restrained by reason. [...] A third when we wish to admonish that reckless haste should be avoided in the actions undertaken, a defect inherent in certain people to whom any delay, however brief, always seems useless.

Corroborating the connection between Neptune/Poseidon and the dolphin with anchor are older coin types with Poseidon's head in the obverse, and dolphin wrapped around an anchor in the reverse:

PAMPHYLIA. Attaleia. Ae (Circa 159-100 BC).
Laureate head of Poseidon right.
Rev: ATTAΛΕΩΝ./ Dolphin-entwined anchor.
Cf. SNG BN 223-4: https://www.acsearch.info/search.html?id=8823467
BAKTRIA, Indo-Greek Kingdom. Nikias, circa 129-125 BC. AE (Bronze, 20x23 mm, 8.23 g, 6 h), uncertain mint in Paropamisadai. BAΣIΛEΩΣ - ΣΩTHPOΣ - NIKIOY Laureate and draped bust of Poseidon to right, with trident over his left shoulder. Rev. 'Maharajasa tratarasa Nikiasa' (in Karoshti) Anchor entwined by dolphin; to lower right, monogram. Bopearachchi 4. HGC 12, 234: https://www.acsearch.info/search.html?id=6505184

We also have cases where the symbol has been used as monogram / countermark:

C. Vibius C.f. Pansa. 90 B.C. AR denarius (17 mm, 3.80 g, 11 h). Rome mint. PANSA behind, laureate head of Apollo right; dolphin coiled around anchor to lower right / C • VIBIV[S] in exergue, Minerva driving quadriga right, holding trophy, reins, and scepte. Crawford 342/5b; Sydenham 684; RSC Vibia 1: https://www.acsearch.info/search.html?id=2584315

Then we have the Denarius Serratus of Papius from 79 BC:
L Papius Denarius Serratus
Obv:– Head of Juno Sospita right, wearing goat skin tied under chin. Behind head, Dolphin wrapped around anchor.Rev:– Gryphon running right; in ex., L. PAPI.; in field, Hippocamp Minted in Rome from . B.C. 79. Reference(s) – RSC Papia 1. RRC 384/1. RCTV 311. Symbol variety – RRC -. Babelon -. BMCRR -. A previously unknown symbol pair and the only known example: https://www.numisforums.com/topic/1124-anyone-up-for-a-game-of-coin-uno/?do=findComment&comment=95713

The symbol has then been adopted by Christians.

Roman Provincial
EGYPT, Alexandria.
Antoninus Pius (138–161 AD) Æ ‘Lighthouse of Alexandria’ Drachm
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This coin represents one of the wonders of the ancient world: the Lighthouse of Alexandria! Thanks to this and other coins, which were struck when the lighthouse was still standing, we know what it looked like. We can see the base with stairs, the windows, the statues of the tritons blowing a conch, and on top, a statue of a God, possibly Helios.
This coin is remarkable for a variety of reasons:

• One of the best preserved of its kind
• Belonged to Giovanni Dattari (1853–1923. Wiki article)
• Belonged to Giovanni Maria Staffieri
• Published in RPC IV.4 by the British Museum and Bibliothèque Nationale de France (Coin 74, specimen 13, plate 6). Here the online version and here my coin and the complete plate
• Published in Dattari-Savio (8561). Here the comparison with my coin.
• Published in Figari-Mosconi (645)
• Classical Numismatics made a video about it.
• Here I talk extensively about it
• Here a video of the coin
• I even made an animation!

Roman Provincial
EGYPT, Alexandria.
Reign of Antoninus Pius (138–161 AD)
Marcus Aurelius as Caesar (139-161) Æ ‘Sphinx’ Obol
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This coin is part of my 'Wonders of the ancient world' series. While the Pyramids of Giza were never featured on an ancient coin (that we know of!), the sphynx was a popular subject in Alexandria and it can be seen in this scarce Obol. The obols featuring the reclining sphynx do not appear very often on the market, but this particular type depicting Marcus Aurelius and the left-facing sphynx is extremely rare, with only 2 other specimens known.

While we have no proof that the sphynx represented here is the Sphynx of Giza, the similarities are enough to let us dream.

Roman Imperial
Septimius Severus (193–211 AD) AR Denarius
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The reverse of this coin is probably inspired by a design from Greek / Macedonian coins, like this one from Demetrios I: https://www.acsearch.info/search.html?id=6669597

Roman Imperial
Philip I (AD 244–249) AR Antoninianus
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Coin minted for the 1,000th anniversary of the founding of Rome in 753 BC (Note: the year zero does not exist, it goes from 1 AD to 1 BC). The cippus depicted was inscribed with an account of the Millennial Games of Philip and set up in Rome. Fragments of the corresponding cippus bearing the Secular Games of Augustus and Septimius Severus have been found. This particular type is featured in Harlan J. Berk's book "100 Greatest Ancient Coins".

Golden toning on the coin.

Roman Imperial
Constantius II (337–361) Æ 3 (Reduced Maiorina)
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Minted in Constantinople, 7th Officina
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"Fel Temp Reparatio" is a Latin phrase meaning “The restoration of happy times.” It appears on a famous series of Roman coins minted during the reign of Constantius II (337–361 CE), one of the sons of Constantine the Great. These coins were part of a broader propaganda effort to promote the idea of a Roman revival or return to former glories after years of civil war and external threats. One of the most iconic types in the Fel Temp Reparatio series is the "Fallen Horseman" reverse. The scene shows a Roman soldier (sometimes interpreted as the emperor) spearing a fallen enemy (a horseman) on the ground. The enemy is often depicted as barbarian, with distinctive attire and sometimes a pointed cap, as in this case. The imagery is propaganda, emphasizing Roman military strength, victory over barbarian invaders (Goths, Sarmatians, etc...) and the emperor as a restorer of peace and order.

ITALY, Kingdom of Naples
Charles II of Anjou (1285–1309 AD) BI Denaro Regale
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ITALY. Kingdom of Naples
Robert of Anjou (1309–1343 AD) AR Gigliato
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The Gigliato, also Gillat or Carlino, was a pure silver coinage established in 1303 by Charles II of Anjou in Naples, and then also in Provence from 1330. Its name derives from the lilies ('gigli' in Italian) depicted on the reverse entwined around a cross. The coin weighed 4 grams. This type of coin was widely copied in the eastern Mediterranean, especially by the Turks, such as the Emir of Saruhan.

ITALY. Medals of the Kingdom of Naples
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In honour of Queen Caroline Annunziata Bonaparte wife of Joachim Murat, 1808, Paris op. Brenet.

On the rim, Cornucopia, ARGENT. (1880-1903 restrike).
Iridescent toning.

This commemorative medal takes inspiration from the design of the Neapolis didrachms: https://numisvault.com/share/coin/lSmq