More than perhaps any other mint, the coinage of Aquileia exhibits marked thematic shifts that reflect local Tetrarchy politics. This is a function of its location — initially, as one of the two mints adjacent to the great imperial capital of Mediolanum (the capital of Maximianus), and then later, on the front between Maxentius' rebellion and the forces of Severus and Galerius.

Initially, it struck the ubiquitous Genius coinage. After the Edict of Maximum Prices in 301, Aquileia minted vast quantities of Moneta-themed coins to promote the new policy, far more than other mints. Indeed, it is for the Moneta coins that the mint is best known. Aquileian coins of this period developed a distinctive, artistic style. Many people think that the Aquileian coinage of this period is the most beautiful of the entire Tetrarchic period, and high-grade examples are eagerly sought.

When Severus II was appointed Caesar in 305, the mint passed to his control, and the Moneta theme was replaced by openly military themes, foreshadowing the impending conflict with Maxentius.

When Maxentius took control of the city in 307, the coinage changed again. While the other tetrarchs strove to use the coinage to promote unity and harmony between themselves, Maxentius promoted Italo-centric themes — featuring the temple of Roma — to emphasize his role as protector of the city and Italy. He did not strike coins in the names of the other tetrarchs. However, he did strike coins in the name of his father, to emphasize his dynastic connection, and in the name of Constantine, as part of a constant effort to win his support and alliance. In this connection, he also struck commemorative coins in honor of Constantius (Constantine's father) on his death.

This mint, along with Ticinum, was closed by Maxentius around 310—perhaps as a reaction to Constantine's growing power in Gaul. The mint was reopened in 312 after Constantine's defeat of Maxentius and was quickly brought into the fold with Constantine's other mints. However, it only stayed open for a year. In 313 it closed again and did not reopen until after Constantine's first civil war with Licinius in 317.

Interestingly, during the year 312/313, there was a decided Licinian tilt to the Aquileian coins. This was the only one of Constantine's mints that struck the IOVI CONSERVATORI types that were Licinius' signature. In addition, the "Genius" coins from this period had the GENIO AVGVSTI legend that was only struck in the eastern mints; all of Constantine's other mints used the GENIO POPVLI ROMANI legend. (In addition to the two Licinian types, it struck Constantine's Sol & Mars types, consistent with Ticinum and/or Rome.)

In spring 313, Licinius was in Mediolanum (Milan) with Constantine (culminating in the historic Edict of Milan). Licinius must have travelled through Aquileia before this period on his way to Mediolanum, and again later in 313 heading to war with Maximinus II. So the period during which the mint was open roughly corresponds to Licinius' time in the area. So one wonders:

• Was the purpose of opening the mint to supply coins to Licinius' forces that must have been in the region?
• Were the Licinian and Constantinian types really struck at the same time, or were they struck in two consecutive groups? Was the mint controlled by Licinian officials at first, then taken over by Constantinian officials, perhaps when Licinius' forces moved on?
• Aquileia was hard by Licinius' other territories. After Maxentius closed the mint in 310, the closest operating mint was Siscia, controlled by Licinius, who had just moved into the area following the death of Galerius. It is not inconceivable that he was interested in projecting his authority further into the Aquileia region.

After Constantine reopened it for good in 317, Aquileia remained an important imperial city (and mint) until the 5th century, when it passed under Gothic, and then Lombard control. It was gradually eclipsed in importance by Venice in the middle ages.

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This material originated on the Interactive Ancient Mediterranean Web site (http://iam.classics.unc.edu). It has been copied, reused or redistributed under the terms of IAM's fair use policy. Copyright 1998, Interactive Ancient Mediterranean.