600 Réis - José I Province of Minas Gerais, Bahia Mint
| Émetteur | Brazil |
|---|---|
| Année | 1752-1768 |
| Type | Standard circulation coin |
| Valeur | 600 Réis |
| Devise | Real (1654-1799) |
| Composition | Silver (.917) |
| Poids | 18.11 g |
| Diamètre | 35 mm |
| Épaisseur | |
| Forme | Round |
| Technique | Milled |
| Orientation | Medal alignment ↑↑ |
| Graveur(s) | |
| En circulation jusqu’à | |
| Référence(s) | KM#179, Bentes#198 |
| Description de l’avers | J between flowers topped by royal crown. Value and date between dots. |
|---|---|
| Écriture de l’avers | Latin |
| Légende de l’avers | J 600 1754 |
| Description du revers | An armillary sphere in front of the Order of Christ cross, with the B mintmark. |
| Écriture du revers | Latin |
| Légende du revers |
SVBQ. SIGN. NATA. STAB. (Translation: Born under a steady sign.) |
| Tranche | Reeded. |
| Atelier |
B Bahia, modern-day Salvador de Bahia, Brazil (1694-1698, 1714-1834) |
| Tirage |
1752 B - Bentes 198.01 - 1754 B - Bentes 198.02 - 1756 B - Bentes 198.03 - 1757 B - Bentes 198.04 - 1758 B - Bentes 198.05 - 1760 B - Bentes 198.06 - 1768 B - Bentes 198.07; Rare. - |
| ID Numisquare | 1412576950 |
| Informations supplémentaires |
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Historical Context: This 600 Réis silver coin was issued under Dom José I, King of Portugal (1750-1777). This era saw Brazil's vast gold and diamond wealth from Minas Gerais significantly fuel the Portuguese Empire. As a silver denomination, it was crucial for internal colonial trade, circulating alongside gold coinage within resource-rich territories. Minted at the Bahia Mint in Salvador, it served colonial administration, highlighting Brazil's economic role.
Artistry: The coin's design reflects prevailing European Baroque and early Rococo numismatic styles. The obverse features a laureate and draped bust of King José I, typically facing right, encircled by his royal titulature. The reverse displays the crowned shield of Portugal, flanked by "600" and the date, with the "B" mintmark for Bahia below. Though specific engravers are largely anonymous, the aesthetic adheres to established