Attached are: "Bolaffi Quality Certificate" no. 434 of 05/05/2021 (Numbering / Bolaffi Catalog No. 119/21); "Appraiser Appendix to the Bolaffi Quality Certificate" no. 434 of 05/05/2021".

Bolaffi, Turin;private collection, Rome.

Below is an extract from the "Expert Appendix to the Bolaffi Quality Certificate" no. 434 of 05/05/2021” attached to this lot:
… The imperial representations on the coins of this period, particularly as regards the oriental mints, are linked to the expressionism typical of the figurative arts of Roman Hellenism, in which grandeur and scenographic effect prevail. They are depictions generally not in relief compared to the background, in clear discontinuity with the imperial portraiture of previous years, characterized by the presence of military clothes and the martial aspect of the busts. However, despite the fact that these are figures created with the maximum possible emphasis, they comply with the canons inaugurated by Diocletian, which aimed to depersonalize them, largely depriving them of the characteristic features of each of them, in line with the profound change he imprinted to the figure of the emperor, who from a real character, primus inter pares and a man among men, had become a demigod, closed in his inaccessible golden palaces, a sort of connecting element between men and gods .Therefore, the issues following the constitutional reform that introduced the Tetrarchy present imperial effigies that are an expression of power, rather than a portrait of the individual emperor, and they are characterized by impersonal features of great solemnity, such that, for example, Constantine and Licinius are not distinguishable from each other at first glance.As regards in particular this effigy of Constantine, the result is a massive, powerful and hypertrophic portrait, as demonstrated by the dimensions of the neck which, although it could be bullish in reality, appear absolutely disproportionate to the dimensions of the head.The emphasis on the figure of the Emperor is further accentuated by the fact that his name, despite its length,  is the only non-abbreviated word in the legend, in relation to which it may also be interesting to note the presence of appellations < i>Pivs and Felix, since both have a wider meaning than the corresponding Italian words. Pivs in fact indicates a religious and devout person, but also honest, benign and clement. This appellation, first attributed to Antoninus Pius and which became an integral part of his name, was much coveted by later Emperors because it recalled his universally appreciated model of behavior. The second name, Felix, indicates a happy person because he enjoys divine favor. Just starting from Constantine, who liberalized Christian worship, the two names acquired a meaning more and more consistent with the new religion: pious began to indicate a devout person , who feels and shows a profound participation in ritual ceremonies, and happy assumed the meaning of one who is not troubled by pain or worries because he enjoys the state of grace in a Christian way. …