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Of all that the lessons that Octavian learned from the experiences of his adoptive father Julius Caesar, arguably the most profound of all was how to win friends and influence people. Mastering both the art of war and the art of propaganda, Octavian evolved himself to Augustus and his Republic to Empire.
Along the way, Octavian set the example for effective and timely deployment of propaganda, his efforts spanning from small to large scale, all across the city of Rome, the Italian peninsula, and the Empire’s growing territories. Even at the start, he kept public relations top-of-mind, from growing a mourning beard that openly demonstrated his
pietas towards Caesar, to leveraging the brightest daytime comet in recorded history towards proclaiming his father’s deification.
Augustus used a wide variety of propaganda forms that targeted all aspects of Roman society: paintings, sculptures, architecture, and, of course, coinage struck in bronze, silver, and gold. He thus appealed to all classes of society, from slaves and common working-class people to senators and soldiers. Even the popular literature of the period shows evidence of imperial manipulations, including poetry, plays, historical documents, and other scholarly information sources.
This marketing effort worked through not only the avaialble media channels but also through members of the imperial family. To this end, the imperial women played a particularly pivotal role. Just as Augustus himself hailed as
princeps, or first among the citizens (and thus setting the example for the ideal Roman man), his wife Livia acted as the living example of the responsibilities provided for by the ideal Roman wife, and his daughter Julia epitomized Augustus' bloodline to ensure the succession of future Roman Emperors.
Even after the Julio-Claudian clan lost its grip on Rome’s throne, each successive imperial dynasty followed the tradition of propaganda, especially in their numismatic designs. Many examples of propaganda on imperial and provincial Roman coins can be found throughout this NGC Ancients Custom Set. One such example is this denarious struck in the name of Augusta Julia Mamaea in Rome circa 222-235 AD. Mamaea was a member of the Emesan clan, whose women were particularly known for their active role in running the Empire. At the time this coin was struck, Mamaea was effectively Rome’s co-ruler. Her son Severus Alexander was only fourteen years old when he ascended the throne, and from the very start, Mamaea served as regent and advisor to help with running the realm.
Mamaea proved to be an excellent advisor to Alexander, at least at first. She was extremely attentive to Alexander’s training, and the duumvirate steered Rome on a path of relative stability and economic prosperity, which was a relief after the tumultuous reign of Elgabalus. Alexander followed her advice faithfully and esteemed her, naming her
consors imperii (partner in rule). Like her aunt before her, Mamaea’s active role in government earned her additional honorifics, including
Mater Castrorum (mother of the camps) and
Mater Seantus (mother of the Senate).
Central to all these efforts, Mamaea effectively spread propaganda to keep her dynasty popular, strong, and secure. To this end, the obverse on the current coin comprises several key propagandistic elements. First, Mamaea’s likeness is very reminiscent of previous Emesan Augustae, especially Domna, who was highly esteemed among the Roman people. Second, the accompanying epithet, IVLIA MAMAEA AVG, reminds everyone of Mamaea’s status and power. Third, in addition to the usual drapery, Mamaea’s bust also bears a diadem. The diadem was an important symbol of sovereignty and power, and its inclusion here is another reminder of Mamaea’s role as regent in addition to her appointment as Augusta. Indeed, on Mamaea’s coinage her bust is typically diademed. This is in contrast to the relative infrequency with which the diadem appears on numismatic portraits of previous Emesan Augustae, including Domna.
This coin’s reverse is also a propaganda marvel. The central figure here is Felicitas, Rome’s divine manifestation of diverse concepts such as productivity, blessedness, luck, and happpiness. Completing the scene is the encircling inscription FELICITAS PVBLICA, denoting “good fortune of the public.” The pairing of Mamaea with Felicitas on this coin connected the mother-and-son leadership team with prosperity and stability, and the promise of good fortune into the future.
As it turned out, bad fortune eventually came to Mamaea and her son. Mamaea followed the well-received custom started by her aunt Julia Domna, who faithfully accompanied her husband Septimus Severus on numerous military campaigns, setting the precedent that the Augusta’s presence in the imperial battle camp boosted morale. However, in the current battle situation, Mamaea’s presence in Alexander’s camp was having the opposite effect, bolstering the troops’ opinion that the Emperor was a dangerously weak ruler who relied too much on his mother.
The situation came to a crisis point in in 235 AD as the duumvirate joined their troops to deal with the threat of Germanic tribes along the Rhine. Reportedly, Mamaea advised Alexander to bribe the barbarians for peace, so that they could redirect their military efforts towards the far eastern border. For the humiliated Rhine legions, mostly local recruits unwilling to re-deploy, this was the last straw. Mutinous soldiers murdered both Mamaea and Severus Alexander, bringing an end to the Severan-Emesan dynasty and marketing efforts thereof.
Additional Reading:
Circulating Imperial Ideology: Coins as Propaganda in the Roman World, Corey J. Ellithorpe, Ph.D. Thesis in the Deparrment of History, University of North Carolina at Chapel Hill, 2017.
Coin Details: ROMAN EMPIRE, Julia Mamaea, AD 222-235, AR denarius, Rome, NGC Grade: MS, Obverse: Diademed, draped bust right, IVLIA MAMAEA AVG, Reverse: Felicitas seated left, holding caduceus and cornucopiae, FELICITAS PVBLICA, References: RIC 338, RSC 24, BMC 658.