カタログ
| 発行体 | Tuder |
|---|---|
| 年号 | 220 BC - 201 BC |
| 種類 | Standard circulation coin |
| 額面 | 1/2 As = 1 Semis |
| 通貨 | As (circa 280-201 BC) |
| 材質 | Bronze |
| 重量 | 36.45 g |
| 直径 | 33 mm |
| 厚さ | |
| 形状 | Round (irregular) |
| 製造技法 | |
| 向き | |
| 彫刻師 | |
| 流通終了年 | |
| 参考文献 | ICC#223, HN Italy#46, Haeberlin#p.230, Thurlow-Ve#164, Campana#11 |
| 表面の説明 | Sleeping dog with legend above and value below. |
|---|---|
| 表面の文字体系 | |
| 表面の銘文 |
TUTERE C (Translation: Tuder 1/2) |
| 裏面の説明 | Lyre with value to the right. |
| 裏面の文字体系 | |
| 裏面の銘文 |
C (Translation: 1/2) |
| 縁 | Smooth. |
| 鋳造所 | |
| 鋳造数 |
ND (220 BC - 201 BC) - - |
| Numisquare ID | 2997452670 |
| 追加情報 |
Historical Context: This substantial bronze 1/2 As, issued by the Umbrian city of Tuder between 220 and 201 BC, places it squarely within the tumultuous Second Punic War. As a Roman ally, Tuder’s continued minting of its own bronze currency highlights a degree of municipal autonomy amidst Rome’s conflict with Carthage. The "light type" designation often reflects a reduction in intrinsic value, a common wartime response to inflation and resource scarcity across the Italian peninsula, demonstrating the widespread impact of the conflict on local economies and monetary systems.
Artistry: While no specific engraver is identifiable, the artistic style of this 1/2 As reflects a blend of indigenous Italic traditions with prevalent Hellenistic influences. The design, including the specific placement of the value mark to the right, would have adhered to established Tuderine iconography, typically featuring local deities, heroes, or animals on the obverse and reverse. The execution possesses a robust, often rustic charm characteristic of large bronze issues from the Roman Republic and its allies, prioritizing symbolic power and legibility over intricate detail.
Technical/Grading: Struck on a substantial 33mm flan weighing 36.45 grams, this 1/2 As typically exhibits the technical challenges inherent in ancient bronze production. High points for wear would include the highest relief areas of the obverse portrait or reverse motif, such as hair, facial features, or musculature. Common strike qualities include variable centering, often irregular flan shapes, and potential for casting flaws or porosity typical of large bronze issues. A strong strike would show full detail on the central devices, with good definition despite the often-coarse fabric of the metal.