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10 Euros Robert Schumann
| Emittent | San Marino Mint |
|---|---|
| Jahr | 2010 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | 10 Euros |
| 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 | Latin |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | The reverse bears a prominent portrait of the German composer Robert Schumann in the foreground, rendered after a period drawing contemporary with his life. The musical background incorporates both a treble clef and a bass clef, evoking Schumann's compositional legacy. To the left of the denomination 10 EURO appears the birth year 1810, the composer's surname SCHUMANN, and a facsimile of his autograph signature; two butterflies are depicted as symbolic reference to his early piano work Papillons, Op. 2. The issue year 2010 is inscribed to the right, with the Rome Mint mark R and the engraver's name COLANERI positioned in the lower field. |
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| Rand | Anmelden um Details zu sehen |
| Prägestätte | Anmelden um Details zu sehen |
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| Zusätzliche Informationen |
San Marino issued this piece as part of its long-running series honoring European cultural figures, timed to the bicentennial of Schumann's birth in 1810. The choice of subject reflects San Marino's consistent pattern of claiming figures with no geographic connection to the republic — a practice that funds the mint program while giving the issues an air of continental legitimacy.
Schumann composed most of his celebrated piano and orchestral work before a mental breakdown led to his voluntary commitment to a psychiatric facility in Endenich in 1854, where he died two years later. He never recovered enough to compose again.