DOI Heft:
Artykuły/Articles
DOI Artikel:Zawadzki, Michał: Remarks on Changes in the Iconography of Jagellonian Crown Coins
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.57341#0275
REMARKS ON CHANGES IN THE ICONOGRAPHY...
and denominations - were also produced for a long time in a similar form (but when
Michal Kuchmeister (1414-1422) introduced better coins - schillings with a long
cross - he somewhat improved their image in order to differentiate the good coins from
the older, worse ones). There are a number of reasons for this lack of changes, but we
should regard as the greatest the desire for stability and the fact that the recipients had
become accustomed to an established, good currency, even if was oftentimes terribly
ruined like in the case of the Prague groschen. In Poland, successive rulers did not
change the appearance of the half-groschen - during the reign of Alexander (1501—
1506) the image of the crown and that of the Eagle underwent cosmetic changes;
Renaissance writing also gradually appeared, though initially it was only found on
Lithuanian coins, beginning with the letters M and N. In turn, Sigismund I the Old
placed the date on early issues of Crown half-groschen; he also introduced Renaissance
lettering on them. However, the real revolution occurred with his reforms from
1526-1528, which established the canons of representations for the following decades.
Despite the fact that the minting reforms of Sigismund I the Old brought
about a ground-breaking convention to the iconography, it is difficult to resist
the impression that 15th-century coinage lost a great deal of its function as
propaganda. In the 16th century, this role was partially taken up by other media, such
as, for example, medals, as well as printed materials, which were becoming more
widespread. Of course, the representations on coins continued to fit within a certain
canon of symbols, but they took on a secondary function, and it is utilitarianism
that began to dominate. This viewpoint is not changed by beautiful “medal-like”
coins like Sigismund I the Old’s trojaks, szóstaks, and thalers - which, anyway,
were struck in small numbers. It is no accident that this peculiar immobilization of
the die coincides with what is in reality the first mass production in the history
of Polish coinage. The chief task of a coin die is that the coin be easy to identify: its
denomination, the issuer, and the country that it comes from; the beauty of the coin
is of secondary importance.
REFERENCES
DMOCHOWSKI, J. (study) 1923. Mikołaja Kopernika rozprawy o monecie i inne pisma
ekonomiczne oraz J.L. Decjusza traktat o biciu monety, Warszawa.
GARBACZEWSKI, W. 2016. Piękno monety polskiej. Opowieść o władcach, artystach
i symbolach. Aukcja Nr 65, jubileuszowa na 25-łecie WCN, Warszawa.
GUMOWSKI, M. 1906. Medale Jagiellonów, Kraków.
GUMOWSKI, M. 1914. Podręcznik numizmatyki polskiej, Kraków.
GUMOWSKI, M. 1917. “Hans Schwarz i jego polskie medale”, Prace KomisyiHistoryi Sztuki,
vol. I (I): 88-108.
KASTENHOLZ, R. 2006. Hans Schwarz. Ein Augsburger Bildhauer und Medailleur der
Renaissance, München.
273
and denominations - were also produced for a long time in a similar form (but when
Michal Kuchmeister (1414-1422) introduced better coins - schillings with a long
cross - he somewhat improved their image in order to differentiate the good coins from
the older, worse ones). There are a number of reasons for this lack of changes, but we
should regard as the greatest the desire for stability and the fact that the recipients had
become accustomed to an established, good currency, even if was oftentimes terribly
ruined like in the case of the Prague groschen. In Poland, successive rulers did not
change the appearance of the half-groschen - during the reign of Alexander (1501—
1506) the image of the crown and that of the Eagle underwent cosmetic changes;
Renaissance writing also gradually appeared, though initially it was only found on
Lithuanian coins, beginning with the letters M and N. In turn, Sigismund I the Old
placed the date on early issues of Crown half-groschen; he also introduced Renaissance
lettering on them. However, the real revolution occurred with his reforms from
1526-1528, which established the canons of representations for the following decades.
Despite the fact that the minting reforms of Sigismund I the Old brought
about a ground-breaking convention to the iconography, it is difficult to resist
the impression that 15th-century coinage lost a great deal of its function as
propaganda. In the 16th century, this role was partially taken up by other media, such
as, for example, medals, as well as printed materials, which were becoming more
widespread. Of course, the representations on coins continued to fit within a certain
canon of symbols, but they took on a secondary function, and it is utilitarianism
that began to dominate. This viewpoint is not changed by beautiful “medal-like”
coins like Sigismund I the Old’s trojaks, szóstaks, and thalers - which, anyway,
were struck in small numbers. It is no accident that this peculiar immobilization of
the die coincides with what is in reality the first mass production in the history
of Polish coinage. The chief task of a coin die is that the coin be easy to identify: its
denomination, the issuer, and the country that it comes from; the beauty of the coin
is of secondary importance.
REFERENCES
DMOCHOWSKI, J. (study) 1923. Mikołaja Kopernika rozprawy o monecie i inne pisma
ekonomiczne oraz J.L. Decjusza traktat o biciu monety, Warszawa.
GARBACZEWSKI, W. 2016. Piękno monety polskiej. Opowieść o władcach, artystach
i symbolach. Aukcja Nr 65, jubileuszowa na 25-łecie WCN, Warszawa.
GUMOWSKI, M. 1906. Medale Jagiellonów, Kraków.
GUMOWSKI, M. 1914. Podręcznik numizmatyki polskiej, Kraków.
GUMOWSKI, M. 1917. “Hans Schwarz i jego polskie medale”, Prace KomisyiHistoryi Sztuki,
vol. I (I): 88-108.
KASTENHOLZ, R. 2006. Hans Schwarz. Ein Augsburger Bildhauer und Medailleur der
Renaissance, München.
273