This article explores the interconnection between Caligula's rehabilitation of his family and the performance of imperial power through processions as presented on three of his coin types. It argues that Caligula used the depictions of processions in connection with coin types celebrating his father, mother, and brothers to create a ‘parade of ancestors’. These coins served as portable visual reminders (monumenta) of Germanicus’ pompa triumphalis of 17 CE, the inclusion of Agrippina's image into the pompa circensis as part of the honours granted to Caligula's family members upon his accession, and the likely inclusion of Nero and Drusus’ images at the head of the transvectio equitum during the early years of Caligula's reign. By parading his family members on his coins in this way, Caligula was able to propel himself forward by looking to and commemorating the past, thereby creating permanent monumenta of these public performances of power.

In face of the religious and cultic claims of the Roman emperors, Philo (Legatio ad Gaium) and Revelation develop contrasting perspectives in positioning their respective religious communities within the cultural majority of their day. The Alexandrian Jew Philo opts for critical integration and social cohabitation—a solution that is conventionally ascribed to early Christianity. John pleads strongly for the self-isolation of the Christian minority groups in the Province of Asia—a solution conventionally ascribed to Jewish self-definition in the Tannaitic period. The article illustrates this remarkable exchange of religious and social self-conceptualisations in both authors. Social rather than religious boundaries determine the framework in which the Roman Empire and its ruler are conceptualised, literary reactions are developed, and strategic alternatives are formed.