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Annia Galeria Faustina (ca. 100-140 AD), also called Faustina the Elder (or Senior), was wife to Titus Aurelius Fulvius Boionius Arrius Antoninus, better known as Rome’s fifteenth Emperor, Antoninus Pius. The latter accepted the throne in 138 AD, and crowned Faustina as his Empress.
Faustina died in late 140 AD, having reigned for only two years. She bore four imperial children, only one of whom, Faustina Jr., survived to reach adulthood and carry on the imperial line. The reign of Faustina Sr., although brief, was peaceful and prosperous. As such, her death was deeply mourned across the Mediterranean. Most distraught, Augustus Antoninus arranged for the Empress a grand funeral and elevated her status to “Diva,” or goddess. Unlike any Empress prior or afterwards, her god-like status was promoted continuously and widely. Her effigies were paraded in spectacles and present at public events. For example, when the Emperor attended the theatre, he sat beside a life-size model of his dearly departed. Genuine or not, Antoninus’ extreme devotion served his political agenda of pietas, or loyalty to family, state, and the gods. Antoninus insisted on spreading his dearly departed’s likeness across the realm.
Faustina posthumously popped up in sculptures, paintings, and, of course, on coins, millions of them, such that many still exist in mint state condition, including this ancient denarius. The obverse bust and its accompanying inscription, DIVA FVASTINA, invoke holiness, if not divinity. The Emperor wanted the message spread very uniformly. To make sure, Rome sanctioned miniature models as templates, and distributed them to the Empire’s die engravers, sculptors, and painters. The result was rather striking, for example Faustina’s full chin, large eyes, and expressive lips engraved upon this coin. Particularly noteworthy is the depiction of the Empress’ hairstyle - an intricate crown formed of numerous interlocking braids. Indeed, this dramatic coiffure influenced the world’s fashion scene for many centuries.
The theme of Faustina’s divinity continues on the coin’s reverse. Even though dead, Faustina was still entitled AVGVSTA. Furthermore, Faustina was depicted as if she had merged with Ceres, the Roman goddess of agriculture and fertility (note the goddess holds a massive specter in one hand and corn ear in the other). This coin was one of many promoting Rome’s “new Ceres.” Even at the Empire’s fringes, Faustina/Ceres permeated, and even amalgamated; the goddess strongly resembles Britannia, a contemporaneous female figure who became the embodiment of that province.
Beyond posthumous imagery, Faustina endured in the form of her daughter, destined to marry Antoninus’ intended successor, Marcus Aurelius. Thus, Faustina the Elder was not only an Emperor’s wife, but ultimately also an aunt, mother-in-law, and grandmother to future Emperors. To her devoted subjects, Faustina epitomized the imperial family, and even Rome herself. Faustina’s influence persists even to this day, in neoclassical sculptures and female icons of Liberty.
Additional Reading: B Bergmann and WM Watson, “The Moon and the Stars: Afterlife of a Roman Empress (Faustina the Elder),” 1999.
Coin Details: ROMAN EMPIRE, Faustina Sr., 138-140/1 AD, AR Denrius (2.79 g), Posthumous issue (struck 147-161 AD), NGC Grade: Ch MS, Strike: 5/5, Surface: 5/5, Obverse: Draped bust right, hair braided in bun, DIVA FAVSTINA, Reverse: Ceres standing half left, stalks of grain in right, long torch in left, AVGVSTA, References: RCV 4582; RSC 78; RIC 360.