| 発行体 | Caesarea |
|---|---|
| 年号 | 222-235 |
| 種類 | Standard circulation coin |
| 額面 | |
| 通貨 | |
| 材質 | Bronze |
| 重量 | 6.95 g |
| 直径 | 23 mm |
| 厚さ | |
| 形状 | Round (irregular) |
| 製造技法 | Hammered |
| 向き | Coin alignment ↑↓ |
| 彫刻師 | |
| 流通終了年 | |
| 参考文献 |
| 表面の説明 | Laureate head right |
|---|---|
| 表面の文字体系 | Greek |
| 表面の銘文 | AV K M AVP CEOVH ΑΛΕΣΑΝΔPO |
| 裏面の説明 | Altar with four grain ears |
| 裏面の文字体系 | Greek |
| 裏面の銘文 | MHTPOΠ KAICAPI |
| 縁 | |
| 鋳造所 | |
| 鋳造数 |
ND (222-235) - - |
| Numisquare ID | 1325250620 |
| 追加情報 |
Historical Context: This Æ23 bronze coin was issued under Severus Alexander (222-235 AD), the last emperor of the Severan dynasty. His 13-year reign marked a period of increasing instability for the Roman Empire, preceding the full Crisis of the Third Century. As a provincial issue from Caesarea in Cappadocia, this coin served as essential local currency, reinforcing imperial authority and addressing regional economic demands for this significant administrative center.
Artistry: The artistic execution of this provincial bronze, while distinct from metropolitan Roman issues, adheres to established imperial portraiture conventions. The obverse would display a laureate, draped, or cuirassed bust of Severus Alexander, rendered in a style typical of the Caesarean mint, blending imperial prototypes with local interpretations. Engravers, largely anonymous, focused on recognizable imperial likenesses. The reverse, though unspecified, typically featured a local deity or civic emblem, reflecting Roman and Cappadocian cultural fusion.
Technical/Grading: Struck on a bronze flan, weighing 6.95 grams and measuring 23 millimeters, this coin's technical qualities are characteristic of provincial issues. High points on the obverse, such as the emperor's hair and facial features, are key indicators for assessing wear. Strike quality often varies, with provincial mints sometimes exhibiting inconsistent centering or incomplete striking, leading to areas of flatness. Flans could also be irregularly shaped. Despite these common challenges, well-preserved examples reveal clear details of imperial portraiture and reverse iconography.