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| Emittent | Iulia Gordus (Conventus of Sardis) |
|---|---|
| Jahr | 161-169 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Gewicht | Anmelden um Details zu sehen |
| Durchmesser | Anmelden um Details zu sehen |
| Dicke | Anmelden um Details zu sehen |
| Form | Round (irregular) |
| Prägetechnik | Anmelden um Details zu sehen |
| Ausrichtung | Anmelden um Details zu sehen |
| Stempelschneider | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Aversbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Aversschrift | Anmelden um Details zu sehen |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | Hades, standing upright in a galloping quadriga advancing to the right, turns his head back to the left while grasping a sceptre in one hand and struggling to restrain Persephone with the other arm in the mythological scene of the Rape of Persephone. Beneath the hooves of the four horses lies an overturned kalathos from which flowers spill into the exergual field, alluding to the meadow of Nysa where the abduction took place. The reverse legend identifying the civic authority of Iulia Gordus is distributed around the composition in Greek characters. |
| Reversschrift | Anmelden um Details zu sehen |
| Reverslegende | Anmelden um Details zu sehen |
| Rand | Plain |
| Prägestätte | Anmelden um Details zu sehen |
| Auflage | Anmelden um Details zu sehen |
| Zusätzliche Informationen |
Iulia Gordus, a minor Lydian city in the Hermus valley, struck bronze civic coinage during the reigns of several emperors but aligned its issues closely with moments of imperial favor. The city's ethnicon ΙΟΥΛΙΕΩΝ ΓΟΡΔΗΝΩΝ — distinguishing it from other Gordos-named settlements — reflects a Julian foundation claim, likely traced to Augustan-era colonial reorganization of the conventus under Sardis.
The dating to 161–169 places this piece within the early co-reign of Marcus Aurelius and Lucius Verus, though Gordus issues from this window naming Marcus alone suggest the city's moneyers exercised selective flattery.