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Tetradrachm Imitation of Alexander III of Macedon
| Uitgever | Central and Eastern European Celts |
|---|---|
| Jaar | 300 BC - 250 BC |
| Type | Log in om details te zien |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Gewicht | Log in om details te zien |
| Diameter | Log in om details te zien |
| Dikte | Log in om details te zien |
| Vorm | Round (irregular) |
| 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 | Celticized head of Herakles facing right, clad in the Nemean lion skin headdress, rendered in the abstract La Tène artistic style characteristic of early Celtic coinage. The facial features are boldly stylized, with large globular eye, prominent ear, and exaggerated curvilinear hair rendered as a series of raised pellets and flowing ridges. The lion scalp is reduced to schematic, abstracted forms with the paws visible at the neck, retaining the general iconographic source in the original Macedonian prototype while exhibiting pronounced Celtic artistic reinterpretation. The coin flan is slightly irregular and the die work displays the vigorous, plastic relief typical of early Celtic silver issues. No legend or inscription appears in the field. |
|---|---|
| Schrift voorzijde | Log in om details te zien |
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Schrift keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Rand | Plain |
| Muntplaats | Log in om details te zien |
| Oplage | Log in om details te zien |
| Aanvullende informatie |
Celtic coinages derived from Alexander's tetradrachms spread across Central Europe through a combination of trade contact and mercenary service — thousands of Celtic soldiers fought in Hellenistic armies and returned home with Macedonian silver in their purses. What followed was not straightforward copying but a progressive stylistic dissolution, each generation of dies moving further from the Greek prototype until the original imagery became nearly abstract. This particular early phase of imitation still retains enough fidelity to its source to be datable to the first half of the third century.