Каталог
| Эмитент | Bishopric of Basel |
|---|---|
| Год | 1025-1040 |
| Тип | Standard circulation coin |
| Номинал | 1 Denier |
| Валюта | Pfennig (999-1122) |
| Состав | Silver |
| Вес | 0.76 g |
| Диаметр | |
| Толщина | |
| Форма | Round (irregular) |
| Техника | Hammered |
| Ориентация | |
| Гравёр(ы) | |
| В обращении до | |
| Каталожные номера | HMZ 1#190a |
| Описание аверса | Cross with letters Y in angles. |
|---|---|
| Письменность аверса | |
| Надписи аверса | +OVDELRICVS EPS |
| Описание реверса | Stylized church building. |
| Письменность реверса | |
| Надписи реверса | +ADELRIC |
| Гурт | |
| Монетный двор | |
| Тираж |
ND (1025-1040) - - |
| ID Numisquare | 2198321000 |
| Дополнительная информация |
Historical Context: This silver denier was issued by Bishop Adalrich II of Basel, whose episcopate spanned 1025-1040. During this early 11th century, Basel was a vital city within the Holy Roman Empire, and its bishops held significant temporal power, including coinage rights. Adalrich II's minting activity highlights the growing authority of episcopal sees and their economic independence amidst the consolidation of Salian imperial power. This coin served as a fundamental unit of exchange, reflecting the bishop's sovereign prerogatives.
Artistry: The specific engraver remains anonymous, but the denier's design adheres to prevailing early medieval numismatic conventions, influenced by Ottonian and early Salian aesthetics. Artistry is characterized by stylized, abstract forms rather than naturalistic representation. The obverse typically features a central cross or episcopal symbol, often with the bishop's name, ADALRICVS. The reverse usually displays the mint name, BASILEA, often surrounding another cross or ecclesiastical motif, embodying the bishopric's spiritual and temporal authority.
Technical/Grading: Struck on a small, often irregular silver flan weighing approximately 0.76 grams, the technical execution is typical for its era. High-points susceptible to wear or weakness commonly include the center of any depicted cross, the lettering serifs, and the outer design edges. Due to rudimentary 11th-century striking techniques, examples often exhibit uneven strikes, off-centering, and areas of flatness, particularly along the periphery. Full, crisp strikes are rare; minor double striking or planchet imperfections are frequently observed.