カタログ
| 発行体 | Uncertain Germanic tribes |
|---|---|
| 年号 | 250-325 |
| 種類 | Non-circulating coin |
| 額面 | 1 Aureus |
| 通貨 | Aureus (circa 150-325) |
| 材質 | Gold |
| 重量 | 5.89 g |
| 直径 | 20 mm |
| 厚さ | |
| 形状 | Round (irregular) |
| 製造技法 | Hammered |
| 向き | |
| 彫刻師 | |
| 流通終了年 | |
| 参考文献 | BMC Vandal#– |
| 表面の説明 | Conjoined cuirassed and laureate busts facing left and surrounded by legend. |
|---|---|
| 表面の文字体系 | Latin |
| 表面の銘文 | IMP M ANTONIN |
| 裏面の説明 | Winged Victory facing left while holding torch with both hands, all surrounded by legend. |
| 裏面の文字体系 | Latin |
| 裏面の銘文 | NICIA III[...]CTORI |
| 縁 | Smooth. |
| 鋳造所 | |
| 鋳造数 |
ND (250-325) - - |
| Numisquare ID | 2258025830 |
| 追加情報 |
Historical Context: This aureus, issued by uncertain Germanic tribes between 250 and 325 CE, reflects the tumultuous late Roman Empire. Imitating Marcus Aurelius (161-180) and Commodus (177-192), its production during the Crisis of the Third Century underscores the enduring prestige of earlier, stable Roman gold coinage. Such imitations served vital roles in the Germanic economy, facilitating trade or payments, often due to sporadic supply of official Roman currency and the growing power of barbarian federations.
Artistry: Anonymous Germanic engravers operated outside established Roman mints, creating a distinctive "barbaric" or "pseudo-imperial" stylistic school. While replicating iconic imperial portraits, the design departs from classical Roman realism. Features are often simplified, abstracted, or rendered with a more linear, less naturalistic quality. The original prototypes are recognizable, yet filtered through a provincial aesthetic, reflecting both technical limitations and evolving artistic sensibilities of the Germanic craftsmen.
Technical/Grading: Weighing 5.89 grams and measuring 20 millimeters, this aureus adheres closely to official Roman weight and diameter standards, underscoring an intent for monetary legitimacy. However, technical strike qualities are typically less refined. High-points like imperial hair, ear, and drapery folds often show softer strikes due to cruder dies and methods. The flan itself may exhibit irregularities, and off-center strikes are common, reflecting the non-official production environment of these fascinating barbarian imitations.