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| 正面描述 | 登录 以查看详情 |
|---|---|
| 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 | The Virgin Mary (Madonna) depicted standing on a crescent moon, holding the Christ Child in her arms, the entire composition enveloped by radiating flames forming a mandorla or glory. The date 1565 is divided and incorporated at the conclusion of the circumferential Latin legend, which invokes the intercession of the Virgin as the Mother of God. The design reflects the strong Marian devotion characteristic of Bavarian Wittelsbach religious patronage in the Counter-Reformation period. |
| 背面文字 | Latin |
| 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 |
Albert V of Bavaria was a zealous champion of the Counter-Reformation, and his court at Munich became one of the most aggressively Catholic in the Holy Roman Empire during the 1560s. Large gold multiples of this kind were not struck for commerce — they functioned as diplomatic gifts and presentation pieces, circulated among princes and prelates rather than merchants. Fr#181a distinguishes this from the more common Fr#181 variant, a distinction that turns on subtle die differences documented by Friedberg.