Catalog
| Issuer | Vindelici of Germania |
|---|---|
| Year | 150 BC - 50 BC |
| Type | Standard circulation coin |
| Value | Quinarius (0.5) |
| Currency | Drachm |
| Composition | Silver |
| Weight | 1.78 g |
| Diameter | 11 mm |
| Thickness | |
| Shape | Round (irregular) |
| Technique | Hammered |
| Orientation | |
| Engraver(s) | |
| In circulation to | |
| Reference(s) | Kostial#18 |
| Obverse description | Celticised male head right. |
|---|---|
| Obverse script | |
| Obverse lettering | |
| Reverse description | Horse to left; three pellets above to left. |
| Reverse script | |
| Reverse lettering | |
| Edge | |
| Mint | |
| Mintage |
ND (150 BC - 50 BC) - - |
| Numisquare ID | 1174239970 |
| Additional information |
Historical Context: The Quinarius Manching type group C was issued by the Vindelici, a prominent Celtic tribe in southern Germania, between 150 BC and 50 BC. This period saw intense interaction between Celtic polities and the expanding Roman Republic. While not issued by a single ruler, this coinage signifies the economic and political autonomy of the Vindelici, likely centered around the oppidum of Manching. The quinarius denomination, a Roman standard, highlights extensive trade and cultural exchange, serving as both currency and a symbol of distinct tribal identity before full Romanization.
Artistry: The engraver of this Quinarius remains anonymous, typical for Celtic tribal coinage. Stylistically, it exemplifies the distinct Celtic artistic tradition, characterized by abstract and curvilinear forms. While likely inspired by Roman prototypes, the design is reinterpreted through a uniquely Celtic lens. Manching types often feature highly stylized heads or animals, with bold, simplified outlines and a dynamic, proto-abstract quality, reflecting local iconography and artistic sensibilities rather than strict imitation.
Technical/Grading: Struck in silver on a compact 11 mm flan weighing 1.78 gg, this quinarius typically exhibits technical qualities consistent with contemporary Celtic minting. High-points, such as hair or facial features on an obverse head, or musculature on a reverse animal, are often the first to show wear. Due to the small flan and manual striking, off-center strikes are prevalent, frequently resulting in incomplete designs. Strike pressure varies, leading to areas of weaker detail, though well-preserved examples can reveal intricate Celtic artistry.