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| 表面の説明 | Highly stylized facing bust of King Wittiza in the center of the field, rendered in the degenerate late Visigothic manner with schematic facial features and a radiate or crested crown. The figure is flanked by indistinct pellet and star-like ornamental elements characteristic of the Barcinona workshop. The entire design is enclosed within a beaded inner border, itself surrounded by a serrated outer border following the irregular flan edge. The execution reflects the pronounced artistic abstraction typical of the final phase of Visigothic coinage. |
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| 表面の文字体系 | ログイン して詳細を見る |
| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | A prominent cross potent or stepped cross occupies the center of the field, rendered in bold relief in the characteristic late Visigothic style. The mint name and epithet legend are distributed around the cross within the inner beaded border, with letters of angular, highly stylized form. The field is contained within a serrated outer border consistent with the irregular hammered flan. The overall design follows the standard Visigothic tremissis reverse type as struck at the Barcinona mint during the reign of Wittiza. |
| 裏面の文字体系 | ログイン して詳細を見る |
| 裏面の銘文 | ログイン して詳細を見る |
| 縁 | ログイン して詳細を見る |
| 鋳造所 | ログイン して詳細を見る |
| 鋳造数 | ログイン して詳細を見る |
| 追加情報 |
Wittiza's reign remains one of the more contested in Visigothic historiography — later Reconquista-era sources systematically blackened his reputation to justify Roderic's usurpation and the subsequent Muslim invasion of 711, making it genuinely difficult to separate the man from the propaganda. What is not disputed is that Barcinona (Barcelona) operated as a functioning mint through his reign, producing tremisses of consistent weight that suggest no major monetary disruption in the northeast during this period. The Pliego 761 attribution places this firmly among the better-documented late Visigothic provincial issues.