See full images - free registration
Continue with Google - no registration! or register with email

Why register? Just to keep bots out of our catalog. Your email stays private - we will never share it or send you anything uninvited. We guarantee you that!

1 Tremissis In the name of Heraclius, Lined torso

Issuer Lombard Kingdom
Year 610-690
Type Standard circulation coin
Value Log in to see details
Currency Log in to see details
Composition Log in to see details
Weight Log in to see details
Diameter Log in to see details
Thickness Log in to see details
Shape Log in to see details
Technique Log in to see details
Orientation Log in to see details
Engraver(s) Log in to see details
In circulation to Log in to see details
Reference(s) Log in to see details
Obverse description Log in to see details
Obverse script Log in to see details
Obverse lettering Log in to see details
Reverse description Winged Victory standing, depicted with a cross to the right, the face rendered as a series of dots and the hair styled to suggest a helmet, all in a heavily barbarized manner derived from late Byzantine tremissis prototypes. The surrounding legend is entirely degenerate and nonsensical, reflecting the Lombard engravers' unfamiliarity with the Latin script, reduced to a sequence of meaningless letterforms. The field retains the general compositional scheme of the Byzantine Victory type but with marked abstraction of individual design elements.
Reverse script Latin
Reverse lettering Log in to see details
Edge Log in to see details
Mint Log in to see details
Mintage Log in to see details
Additional information

The Lombard tremissis issues struck in the name of Heraclius represent a particularly murky chapter in early medieval monetary history. The Lombards, who had seized much of Italy from Byzantine control after 568, continued issuing gold coinage in the name of reigning Eastern emperors for decades — not out of political submission, but because Byzantine-style gold was what merchants trusted. The "lined torso" type is a degenerate imitation, the imperial image progressively abstracted by craftsmen working from copies of copies rather than from official dies.

By the mid-seventh century these pieces were diverging sharply from Byzantine prototypes in both style and fineness.

YOU MAY ALSO LIKE