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Schilling Gothic script, antiqua M, MONETA LVCERNENSIS
| Uitgever | City of Lucerne |
|---|---|
| Jaar | 1482-1497 |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Billon |
| Gewicht | Log in om details te zien |
| Diameter | Log in om details te zien |
| Dikte | Log in om details te zien |
| Vorm | Log in om details te zien |
| Techniek | Log in om details te zien |
| Oriëntatie | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Within a quadrilobe border, the vertically divided coat of arms of Lucerne is displayed on a small square shield, with the left half rendered with vertical hatching, diagonal grid, or solid fill, and the right half plain. An eagle with head turned to the left surmounts the shield. The letter L appears in the left field and V in the right field. The surrounding legend is rendered in Gothic script. |
|---|---|
| Schrift voorzijde | Log in om details te zien |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Saint Leodegar (Léger), patron saint of Lucerne, is depicted standing in full episcopal regalia, nimbed, wearing a mitre, and holding a hand drill in his right hand and a crosier in his left hand. A polylobe frame surrounds the figure. The legend, naming the saint, is inscribed in Gothic script. |
| Schrift keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Rand | Log in om details te zien |
| Muntplaats | Log in om details te zien |
| Oplage | Log in om details te zien |
| Aanvullende informatie |
Lucerne's late-fifteenth-century schillings occupy an awkward transitional moment in Swiss municipal coinage, when chancery workshops were shifting between Gothic and Roman letterforms mid-series — hence the hybrid typography that defines this variety. The mixing of gothic script with an antiqua M was not a deliberate aesthetic choice but a practical consequence of punchcutters working from different model alphabets, sometimes within the same die.
Wielandt's tight attribution to this specific variant reflects how meaningfully the Lucerne series fragments across typographic minutiae.