Abstract
AbstractTitian paintedChrist with the Coinfor Alfonso d’Este around 1516. The painting served as the cover piece for a collection of ancient coins and has been read as a commentary on politics and taxation. Instead, this article reveals how the painting reconfigured Alfonso’s interaction with ancient coins, transforming the everyday activity of the collector into an occasion of spiritual reformation. Reading numismatic antiquarianism against the exegetical tradition that accrued around the Gospel pericope (Matthew 22:21) reveals the painting as the nexus of two regimes of virtue — one Christian, one classical — both of which turn upon coins as manifold objects.
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