Catalogue
| Émetteur | Bishopric of Geneva |
|---|---|
| Année | 1175-1225 |
| Type | Standard circulation coin |
| Valeur | 1 Denier |
| Devise | Denier (1019-1135) |
| Composition | Silver |
| Poids | 1.08 g |
| Diamètre | |
| Épaisseur | |
| Forme | Round (irregular) |
| Technique | Hammered |
| Orientation | |
| Graveur(s) | |
| En circulation jusqu’à | |
| Référence(s) | HMZ 1#1-294a |
| Description de l’avers | Cross pattée. |
|---|---|
| Écriture de l’avers | |
| Légende de l’avers | + GENEVA |
| Description du revers | Head of St Peter facing left. |
| Écriture du revers | |
| Légende du revers | PETRVS |
| Tranche | |
| Atelier | |
| Tirage |
ND (1175-1225) - - |
| ID Numisquare | 4486811760 |
| Informations supplémentaires |
Historical Context: Issued by the powerful Bishopric of Geneva (1175-1225), this silver denier reflects a pivotal era in the region's political and economic landscape. During this period, the Bishops solidified temporal authority, asserting independence from the Counts of Geneva and establishing themselves as significant feudal lords. The right to mint coinage was a crucial prerogative, symbolizing sovereignty and facilitating local commerce in a burgeoning urban center at the crossroads of Alpine trade routes. This coin was a tangible expression of episcopal power.
Artistry: The design of this denier is characteristic of early medieval coinage, executed by anonymous local artisans. Stylistically, it aligns with the Romanesque tradition, emphasizing clear, symbolic imagery. Obverse designs typically feature a prominent cross, potent in its simplicity, while the reverse commonly displays a stylized bust of the bishop or an ecclesiastical symbol (e.g., mitre, crozier), unequivocally asserting the issuer's spiritual and temporal authority. The engraving, though often crude, effectively conveyed its message.
Technical/Grading: Weighing 1.08 grams, this silver denier exhibits technical qualities typical of High Middle Ages minting. High-points susceptible to wear include the central elements of the cross and any facial features or insignia. Production involved manual hammering, often resulting in variable strike quality: off-center strikes, uneven pressure, and irregular planchet shapes. Thin, broad flans frequently led to incomplete design impressions. A well-preserved example shows clear central motifs and minimal flattening of high-relief elements.