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| 正面描述 | Pearl-diademed, draped, and cuirassed bust of Maurice Tiberius facing right, rendered in a stylised, degenerate manner characteristic of post-Byzantine Lombard imitative coinage. The effigy is enclosed within a beaded border, with a partially legible Latin legend surrounding the bust in the field. The portraiture reflects a provincial interpretation of the imperial type, with schematic facial features and simplified drapery details. |
|---|---|
| 正面文字 | 登录 以查看详情 |
| 正面铭文 | 登录 以查看详情 |
| 背面描述 | A bold cross pattée or equal-armed cross occupies the central field, rendered with strong horizontal and vertical bars and segmented arms, consistent with Lombard imitative tremissis types. The cross is surrounded by a garbled, nonsensical pseudo-legend composed of degenerate Latin letterforms arranged in a circular band within a beaded border. The overall design is a barbarous imitation of Byzantine reverse types, with the legend having lost all meaningful content through repeated copying. |
| 背面文字 | 登录 以查看详情 |
| 背面铭文 | 登录 以查看详情 |
| 边缘 | 登录 以查看详情 |
| 铸币厂 | 登录 以查看详情 |
| 铸造量 | 登录 以查看详情 |
| 附加信息 |
The tremissis was the workhorse of post-Roman Italian monetary life, and Lombard-controlled Tuscany struck these pieces in nominal imitation of Byzantine imperial types long after any meaningful relationship with Constantinople had dissolved. The attribution to Maurice Tiberius — who died in 602 — on coins struck decades after his death reflects deliberate conservatism: Lombard authorities found imperial imagery more commercially trusted than anything assertively their own.
The "sectioned body" bust variant is a die peculiarity noted by Arslan as distinct from the cleaner metropolitan imitations, likely the product of a provincial workshop with limited access to quality Byzantine exemplars.