Catálogo
| Emissor | Philippi (Macedon) |
|---|---|
| Ano | 356 BC - 345 BC |
| Tipo | Standard circulation coin |
| Valor | |
| Moeda | Drachm |
| Composição | Bronze |
| Peso | 4.4 g |
| Diâmetro | 18 mm |
| Espessura | |
| Formato | Round (irregular) |
| Técnica | Hammered |
| Orientação | Variable alignment ↺ |
| Gravador(es) | |
| Em circulação até | |
| Referência(s) | Philippi#Ib, 4 |
| Descrição do anverso | Head of Herakles right, wearing lion skin. |
|---|---|
| Escrita do anverso | |
| Legenda do anverso | |
| Descrição do reverso | Tripod, grape bunch to left. |
| Escrita do reverso | Greek |
| Legenda do reverso | ΦΙΛΙΠΠΩΝ |
| Bordo | |
| Casa da moeda | |
| Tiragem |
ND (356 BC - 345 BC) - - |
| ID Numisquare | 7400869550 |
| Informações adicionais |
Historical Context: This Æ issue from Philippi, struck between 356 BC and 345 BC, dates to the crucial period immediately following the city's refoundation by Philip II of Macedon. Originally Krenides, Philip renamed and fortified it, primarily to exploit the rich gold mines of Mount Pangaion, which significantly funded his military expansion. This coinage reflects Philippi's strategic importance and its integration into the burgeoning Macedonian kingdom during Philip II's consolidation of power, serving as a vital economic hub for his campaigns.
Artistry: The anonymous engraver of this bronze coin worked within the prevailing Late Classical to early Hellenistic stylistic traditions, characteristic of Macedonian civic issues. While bronze coinage typically features less intricate designs than silver, the artistry aimed for clear and recognizable iconography. Common types for Philippi during this period often depict deities or symbols associated with the Macedonian pantheon or local cults, rendered with a robust, if somewhat simplified, aesthetic suitable for mass production and daily commerce.
Technical/Grading: This bronze coin, weighing 4.4 grams and measuring 18 millimeters, was struck on a cast flan, which often exhibits some irregularity. High-points of the design, such as the hair and facial features on an obverse portrait or the central elements of a reverse device, are typically the first areas to show wear. A well-struck example would exhibit sharp details on both sides, with the legends, if present, being legible, despite potential for minor off-centering or flan defects inherent to the production methods of the era.