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1 Denarius - Imitating Marcus Aurelius, 161-180, or Septimius Severus, 193-211
| Emittent | Uncertain Germanic tribes |
|---|---|
| Jahr | 225-325 |
| Typ | Standard circulation coin |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Gewicht | Anmelden um Details zu sehen |
| Durchmesser | Anmelden um Details zu sehen |
| Dicke | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Prägetechnik | Anmelden um Details zu sehen |
| Ausrichtung | Anmelden um Details zu sehen |
| Stempelschneider | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Aversbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Aversschrift | Anmelden um Details zu sehen |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | Standing figure facing left, rendered in a simplified barbarous imitative style, holding an uncertain object in the right hand, possibly a Victory statuette, and a scepter or spear in the left hand. The design loosely copies a standard Roman imperial reverse type associated with Marcus Aurelius or Septimius Severus denarii. The figure is surrounded by a degenerate pseudo-legend composed of garbled Latin letterforms arranged in an irregular manner around the field. The overall engraving is crude, consistent with a non-professional Germanic workshop imitating official Roman coinage. |
| Reversschrift | Anmelden um Details zu sehen |
| Reverslegende | Anmelden um Details zu sehen |
| Rand | Plain |
| Prägestätte | Anmelden um Details zu sehen |
| Auflage | Anmelden um Details zu sehen |
| Zusätzliche Informationen |
Barbarous imitations of Roman denarii proliferated across the Germanic frontier during the third century, a period when official Roman silver was being debased so aggressively that the distinction between an imperial coin and a tribal copy sometimes mattered less than its silver content. These pieces were struck by communities outside the limes who had absorbed enough Roman metalworking knowledge to produce credible — if stylistically degraded — coinage, likely for use in cross-border trade or mercenary payment.
The attribution range spanning both Marcus Aurelius and Septimius Severus prototypes reflects a common problem with this material: Germanic die-cutters frequently copied from worn or mixed exemplars, collapsing decades of imperial portraiture into a single muddled type.