Constantine I, 307 – 337. Medallion, Ticinum 315, AR 6.08 g. IMP CONSTANT – INVS P F AVG Cuirassed bust three-quarters facing, wearing high-crested helmet, holding horse by bridle with r. hand and reversed spear in l. Rev. SALVS REI – PVBLIC – AE Constantine I, draped, cuirassed, standing l. on platform, holding trophy across l. shoulder, crowned by Victory; before him, four soldiers with horses and three soldiers with shields; behind him, two soldiers, standing on either side of dais, each holding standard. C 484. RIC 36 (this obverse die). Alföldi pl. 4, 61 (this obverse die). Of the highest rarity, apparently only the fourth and by far the finest specimen known. An issue of tremendous importance and fascination with a portrait of enchanting beauty, work of a very skilled master engraver and a finely detailed and executed reverse composition. Struck on a very broad flan and with a lovely old cabinet tone, minor area of weakness on reverse, otherwise good extremely fine This incredible medallion was struck for distribution as a military donative as part of the celebrations commemorating Constantine’s decennalia (10-year anniversary of his reign) in A.D. 315. It features what is arguably one of the most iconic, dramatic, and rare numismatic portraits of Constantine I. As with many special issues associated with the decennalia, the usual profile imperial portrait has been eschewed in favor of an arresting frontal portrait that seems to stare at the viewer. The ornate and flamboyantly crested helmet features the Chi-Rho – a monogram formed by the first two Greek letters in the name ”Christ.” According to Eusebius and Lactantius, this monogram appeared to Constantine in a vision before his final showdown with his rival, Maxentius, at the Milvian Bridge (A.D. 312). Advised that, ”in this sign he would conquer,” Constantine had the monogram painted on the shields of his soldiers and marched to victory and the prize of Rome. Eusebius further adds that later in life Constantine took to wearing a helmet with the Chi-Rho monogram emblazoned on it because it was felt that this monogram afforded him added divine protection in battle. The helmet depicted here must surely be the same as the one described by Eusebius. Its apotropaic powers were augmented still further after A.D. 326-328 with the addition of a crown made from a nail believed to be from the True Cross. Constantine’s pose, holding a shield emblazoned with the wolf suckling Romulus and Remus and with his right hand leading a horse by the bridle, presents him as the master of Rome, which was a significant feature of the decennalia celebrations. Part of the festivities included the dedication of the Arch of Constantine in Rome to commemorate his victory over Maxentius three years earlier. Like the Chi-Rho on the helmet, the celebrations also put on public display Constantine’s Christian leanings. Although it had been expected that he would dedicate the arch with sacrifices to the traditional Roman gods, he refused to do so out of respect for the Christian God whose intervention won him the city. The portrait with horse and shield on this medallion also serves to advertise Constantine as the legitimate and unchallenged Augustus in the West. It closely mimics a similar portrait type used for gold medallions of Maximian I (Gnecchi 18), the western Augustus of Diocletian’s tetrarchic system, who also happened to be the father of the defeated Maxentius and the father-in-law of Constantine. The reverse type may represent the occasion on which the medallion was given out, since Constantine appears standing on a dais with Victory surrounded by four infantrymen and four cavalrymen. What better way to preserve the SALVS REIPVBLICAE (”health of the state”) mentioned in the legend than by a distribution of valuable, attractive, and symbolically significant medallions to the commanders of the army?