Katalog
| Emittent | Pelinna |
|---|---|
| Jahr | 200 BC - 150 BC |
| Typ | Standard circulation coin |
| Nennwert | Tetrachalkon (1⁄12) |
| Währung | Drachm |
| Material | Bronze |
| Gewicht | 7.0 g |
| Durchmesser | 20 mm |
| Dicke | |
| Form | Round (irregular) |
| Prägetechnik | Hammered |
| Ausrichtung | |
| Stempelschneider | |
| Im Umlauf bis | |
| Referenz(en) | BCD Thessaly I#1233, HGC 4#272 |
| Aversbeschreibung | Veiled head of Mantho to right |
|---|---|
| Aversschrift | |
| Averslegende | |
| Reversbeschreibung | Nike standing left, holding wreath in her upraised right hand and stylis in her left hand. |
| Reversschrift | Greek |
| Reverslegende |
ΠΕΛΙΝΝΑ ΕΙΩΝ (Translation: The Pelinnaeians) |
| Rand | |
| Prägestätte | |
| Auflage |
ND (200 BC - 150 BC) - - |
| Numisquare-ID | 2047487970 |
| Zusätzliche Informationen |
Historical Context: This Tetrachalkon, issued by Pelinna in Thessaly (200-150 BC), reflects a period of significant geopolitical transition. Following the Second Macedonian War, Thessaly fell under Roman influence. Despite this, cities like Pelinna retained the right to strike bronze coinage for local circulation. These issues were vital for daily economic transactions, asserting civic identity amidst shifting regional powers. The "Tetrachalkon" denomination signifies its role in the local monetary system.
Artistry: While the die engraver remains anonymous, typical for Hellenistic civic issues, the coin’s artistry adheres to prevailing stylistic trends of the Late Hellenistic period in Thessaly. Coinage from this region frequently featured local deities, heroic figures, or symbols pertinent to the city's cults and civic pride. The designs, though not specified, would likely have been rendered with a blend of classical idealism and emerging realism, reflecting the skill of local die-sinkers.
Technical/Grading: Struck in bronze, this coin measures 20 mm and weighs 7.0 grams, consistent with the Tetrachalkon denomination. For grading, critical high-points typically include prominent features of any obverse portrait (e.g., hair, facial details) or the musculature of a reverse figure. Bronze issues of this period often display variations in strike quality, including minor off-centering, uneven pressure, or some die wear, common characteristics of ancient bronze production.