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| 正面描述 | 登录 以查看详情 |
|---|---|
| 正面文字 | 登录 以查看详情 |
| 正面铭文 | 登录 以查看详情 |
| 背面描述 | The Virgin Mary, nimbed and crowned, is depicted seated in majesty upon an ornate Gothic throne, holding the Christ Child before her in the lower portion of the field; a small heraldic shield is visible beneath the throne. Flanking the throne are elaborate Gothic architectural elements — slender pinnacled columns — lending the scene a pronounced cathedral character typical of late medieval devotional coinage. The composition is framed by a beaded inner circle, with the Marian Ave Maria legend in uncial characters running around the circumference. The style reflects the Gothic Madonnen-type widely employed on Rhenish goldgulden of the early fifteenth century. |
| 背面文字 | 登录 以查看详情 |
| 背面铭文 | AVE MARIA GRACIA PL |
| 边缘 | 登录 以查看详情 |
| 铸币厂 | 登录 以查看详情 |
| 铸造量 | 登录 以查看详情 |
| 附加信息 |
Jülich's gold angels of this period were struck in direct imitation of the French angelot, itself introduced under Charles VI in 1340 — a deliberate monetary strategy by the Rhenish princes to participate in the prestige economy of French-type gold while asserting local dynastic legitimacy. Reinald IV ruled Jülich during one of its most politically volatile stretches, navigating the tangled aftermath of the Guelders succession disputes and shifting alliances across the lower Rhine.
The "tall angel" designation distinguishes this die variety from the shorter-format strikes of the same reign — a distinction codified by Delmonte and meaningful to specialists working the Rhenish series.