Below is a list of the coins of the Papal States / Vatican that I have.
Rather than just repeating the usual size/weight characteristics, I have provided a link to the Numista site for those attributes.
What I have tried to do is give more context of the coin and relay some historical events that either the images represent or were occuring
at the time of minting. None of these coins are particulary rare or expensive - but it's quite possible to get a lot out of a collection for
very little outlay. I plan to add to this page in the near future.
Popes have mostly been elected from the diocesan priesthood, but occasionally they came from religious orders - I have noted this where appropriate.
It's probably worth mentioning that I am neither Catholic nor religious so this view is a purely secular one.
The Papal States used several overlapping monetary systems over the centuries.
This table summarises the principal base units and their main subdivisions / higher units,
including regional denominations such as the groschen and bolognino.
Period / System
Base Unit
Subunits
Higher Denominations
Notes
Early–Late Middle Ages (c. 8th–14th c.)
Denier (Denaro)
Often counted in multiples rather than formal subunits.
Local variants: picciolo, small deniers; bolognino (Bologna and central Italy).
Mixed silver–copper system; scudo as the main large silver unit and
doppia as a high-value gold coin. Occasionaly regional issues such as groschen-type coins were issued for trade.
More decimal-like structure around the scudo; still silver-based,
with copper for small change. Older denominations such as the bolognino and groschen-type pieces had largely disappeared.
Strictly speaking the below coin is not issued under a ruling Pope, but it does fall into the Papal States category so I have included it here.
It was issued by the Roman Senate (1188-1252) which was a semi-autonomous political entity also knows as the Commune of Rome.
Clement III concluded an agreement with this entity in 1187 whereby the Papacy regained some of the authority is lost in 1143
(due to an imposition on looting of Trivoli after it was subjugated under Innocent II and subsequent rebellion) The below example
seems to have a sun and moon either side of the central S rather than 2 moons in the upper quadrants of the reverse inner section as
indicated in references..
Papal States – Roman Senate (Communal Period)
Details
Ruler
Image
Roman Senate – 1 Denier (ND, 1188–1252)
Mint: Rome (Municipal)
Obverse: + SENATVS . P . Q . R — Legend surrounding a central cross Reverse: + ROMA CAPVT MVN — Large ‘S’ between two crescents; wool comb below Date: ND (1188–1252), Denier
Historical Note: During the 12th and 13th centuries, the Roman Senate re‑established itself as a
secular authority, striking coins that explicitly revived the ancient title Senatus Populusque Romanus
(The Senate and People of Rome). The reverse legend, “ROMA CAPVT MVNDI” (Rome, Head of the World), asserted the city’s
claim to political primacy in medieval Europe. The wool comb (pettine) is a distinctive emblem of the Senate,
symbolising the influence of Rome’s guilds and the economic independence they sought to maintain against papal control.
John XXII (1316–1334)
Details
Ruler
Image
John XXII – 1 Denier / Picciolo (ND, 1316–1334)
Mint: Macerata, Italy
Obverse: ✠ IOhANNES PP — Short cross pattée within circle Reverse: ✠ •VICESIMV •SEC • / D V S — Letters D V S around a central pellet Date: ND (1316–1334), Denier / Picciolo
Historical Note: John XXII was the second and longest‑reigning Avignon Pope. Although he lived in
France, he was a formidable administrator who imposed heavy taxation on the Papal States to finance his Italian
campaigns. This denier (or picciolo) was struck at the Macerata mint in the Marche region. The reverse inscription
“D V S” abbreviates De Vicis, referring to the local vicarial jurisdiction. These small silver coins formed
the backbone of everyday commerce, and their relatively high purity reflects John XXII’s strict — and often
controversial — financial reforms.
Gregory XI (1370–1378)
Details
Ruler
Image
Gregory XI – 1 Bolognino (ND, 1370–1377)
Mint: Rome
Obverse: GG . PP . VND — Facing bust wearing the Triregnum (Papal Tiara) Reverse: .+. DE ROMA / VRBI — Letters V R B I arranged in a cross pattern within a circle Date: ND (1370–1377), Bolognino
Historical Note: Gregory XI (Pierre Roger de Beaufort) was the pope who ended the seventy‑year
“Babylonian Captivity” of the papacy in Avignon by returning the papal court to Rome in 1377. The reverse inscription
DE ROMA / VRBI (“From Rome — To the City”) served as a pointed declaration of this restoration of papal
authority in its ancient seat. The obverse bust shows Gregory XI wearing the early form of the Triregnum,
the three‑tiered papal crown symbolising his spiritual and temporal sovereignty. These small bolognini circulated
widely in the final years before the Western Schism, making them tangible witnesses to one of the most politically
charged transitions in medieval papal history.
Martin V (1417–1431)
Details
Ruler
Image
Martin V – 1/4 Groschen (ND, 1417–1431)
Mint: Avignon, France
Obverse: mARTINVS ⵓ PP ⵓ V — Papal mitre over two ‘P’s, divided by a column Reverse: ✠ ⵓ SANCTVS ⵓ PETRVS ⵓ — Cross cantoned with mitres and crossed keys Date: ND (1417–1431), Quarter Groschen
Historical Note: Martin V was the pope who finally ended the Western Schism and restored the unity
of the Church after nearly forty years of rival papal claimants. This Avignon issue cleverly incorporates the
Colonna family emblem — the column — as a heraldic pun on Martin’s surname, symbolising the “pillar” of the
reunited Church. The paired “PP” stands for Papa, while the reverse design, alternating mitres and the keys of
St Peter, reinforces his dual authority as both temporal ruler and spiritual successor of the Apostles. These
fractional groschen circulated widely in southern France during the final years of Avignon’s papal minting tradition.
A Short Note on Heraldry
It is worth taking a moment to outline what a full heraldic achievement comprises, as it extends well beyond the basic coat of arms:
1. The escutcheon — the central shield bearing the coat of arms.
2. The crest — the device placed above the helmet or crown.
3. The helmet — often stylised to indicate rank or status; in ecclesiastical arms this is replaced by the triregnum or capello romano.
4. The mantling — the decorative cloth surrounding the helmet; in ecclesiastical achievements this function is taken by the cords and tassels attached to the crossed keys.
5. The supporters — figures or animals flanking the escutcheon, though not present in these examples.
6. The coat of arms — the design within the escutcheon; the heraldic achievement refers to the entire composition.
7. The motto — a short phrase associated with the bearer.
While coats of arms originally served practical purposes in medieval warfare and identification, their continued use—and the evolution into
full heraldic achievements—may appear highly ceremonial or even self‑aggrandising. Yet their enduring role in preserving lineage,
institutional identity, and tradition remains remarkably effective. From this point on, heraldry becomes an important feature of Papal States coins.
Paul II (1464–1471)
Details
Ruler
Image
Paul II – 1 Quattrino (ND, 1471–1484)
Mint: Ancona
Obverse: ٠PAVLVS٠PAPA٠II٠ — Papal heraldic achievement with rampant lion Reverse: ٠ALMA ✶٠ ٠✶ ROMA٠ — St Peter standing with nimbus, holding book and key Date: ND (1471–1484), Quattrino
Historical Note: Issued at Ancona toward the end of Paul II’s pontificate, this quattrino
reflects the papacy’s effort to maintain stable small‑denomination currency in the Adriatic ports. Ancona’s maritime
trade and strategic loyalty made it a priority for Paul II’s administration. The lion in the papal arms is the
emblem of the Barbo family, to which Paul II belonged; its full heraldic description is
“Azure, a lion rampant Or, armed and langued Gules, holding in the dexter forepaw a sword erect Argent.”
The reverse depiction of St Peter reinforces the city’s spiritual connection to Rome and the apostolic authority
of the papacy.
Sixtus IV (1471–1484) — Franciscan
Details
Ruler
Image
Sixtus IV – 1 Quattrino (ND, 1471–1484)
Mint: Viterbo
Obverse: SIXTVS٠ PP٠IIII — Semi‑oval coat of arms surmounted by crossed and tied keys and tiara; no circle Reverse: SANCTVS٠PETRV٠ — Bust of St Peter with nimbus, holding key and book; no circle Date: ND (1471–1484), Quattrino
Historical Note: Sixtus IV is remembered for his ambitious architectural and cultural
patronage, most famously commissioning the Sistine Chapel that still bears his name. His coinage often paired the
ruling family’s heraldic arms with imagery of St Peter, reinforcing both dynastic authority and the city’s
enduring loyalty to the Holy See. This quattrino from Viterbo reflects the papacy’s effort to maintain stable
small‑denomination currency in central Italy while projecting the prestige of the Franciscan pope who reshaped the
artistic landscape of Renaissance Rome.
Innocent VIII (1484–1492)
Details
Ruler
Image
Innocent VIII – 1 Quattrino (ND, 1484–1492)
Mint: Rome
Obverse: INNOCENTIVS٠PP٠VIII — Papal heraldic achievement (Cibo family arms) Reverse: S.PETRVS.S.PAVLVS.ALM.ROM. — St Peter and St Paul standing behind a low wall Date: ND (1484–1492), Quattrino
Historical Note: Innocent VIII presided over a Rome rapidly emerging as the artistic capital
of Renaissance Europe. His family arms — featuring a checkered fess and cross — are characteristic of late fifteenth‑
century papal heraldry. The reverse depicts the “Princes of the Apostles,” St Peter and St Paul, shown
together behind a low architectural parapet. This Early Renaissance motif gives the saints a sense of physical presence
within the city, complementing the legend’s reference to Alma Roma (“Nourishing Rome”). The pairing of the
two apostles emphasised the dual foundation of the Roman Church at a time when papal authority was increasingly expressed
through visual symbolism.
Julius II (1503–1513)
Details
Ruler
Image
Julius II – 1 Quattrino (ND, 1503–1513)
Mint: Viterbo
Obverse: IVLIVS ° II ° PONT ° MAX — Oak tree (Della Rovere emblem) Reverse: S • PETRVS APOSTOLV D V — St Peter standing with key; “D V” in field Date: ND (1503–1513), Quattrino
Historical Note: Julius II (Giuliano della Rovere) was one of the most forceful and
politically assertive popes of the Renaissance, known for his military campaigns and his patronage of artists such
as Michelangelo and Raphael. His family name, Della Rovere (“of the oak”), made the oak tree a dominant
symbol of his papacy, appearing prominently on his coinage. The letters “D V” on the reverse stand for
De Viterbo, identifying the mint. Viterbo was a key papal stronghold during the Italian Wars, and the
presence of the oak emblem on its local currency served as a constant reminder of Julius II’s temporal and
spiritual authority over the region.
Julius III (1550–1555)
Details
Ruler
Image
Julius III – Half Groschen (ND, 1550–1555)
Mint: Avignon
Obverse: IVLIVS PP TERTIVS — Julius III seated on a throne, holding a long cross dividing the legend Reverse: ALEX FAR C LEGA AVE — Cross with keys in each quarter Date: ND (1550–1555), Half Groschen
Historical Note: This half groschen was struck at the Avignon mint during the pontificate of
Julius III, a period when the papacy still maintained a distinct administrative presence in southern France.
The obverse shows the pope enthroned, a traditional assertion of universal spiritual authority, while the reverse
names Cardinal Alessandro Farnese, the powerful legate who governed Avignon on behalf of Rome. The cross with the
crossed keys in each quarter reinforces the city’s status as a papal enclave, visually binding local governance to
the broader authority of the Holy See. Avignon’s coinage frequently highlighted this dual structure of power: the
pope as supreme ruler, and the legate as his direct representative in the region.
Sede Vacante 1555 (Guido Ascanio Sforza di Santa Fiora)
Details
Ruler
Image
Sede Vacante – 1 Giulio (1555)
Mint: Rome
Obverse: .SEDE.VACANTE.MDLV. — Sforza–Santa Fiora arms beneath the Ombrellino and Keys Reverse: .ALMA.ROMA. .S.PETRVS. — St Peter standing with keys and open Bible Date: 1555, Giulio
Historical Note: “Sede Vacante” (“the Seat being Vacant”) coinage is issued only during the
interregnum between the death of a pope and the election of his successor. During this period, the Camerlengo — here
Cardinal Guido Ascanio Sforza — exercises temporary sovereign authority. The obverse displays the Sforza lion and the
Santa Fiora quince, but the papal tiara is replaced by the Ombrellino, the ceremonial umbrella that signals
the vacancy of the Apostolic Throne. The year 1555 was especially turbulent, witnessing the briefest papacy in
history (Marcellus II, only twenty‑two days). Guido Ascanio Sforza himself was the grandson of Pope Paul III,
making this issue a fascinating intersection of dynastic influence and papal administration.
Paul IV (1555–1559)
Details
Ruler
Image
Paul IV – 1 Giulio (ND, 1555–1559)
Mint: Rome
Obverse: .PONT.MAX. .PAVLVS.IIII. — Papal heraldic achievement (Carafa bars) Reverse: .ALMA.ROMA. .S.PAVLVS. — St Paul standing with sword and open book Date: ND (1555–1559), Giulio
Historical Note: Paul IV (Gian Pietro Carafa) was a fierce reformer and founder of the
Roman Inquisition. His family arms — three silver horizontal bars on a red field — appear prominently on the
obverse. The reverse depiction of St Paul holding an open book was a deliberate choice during the
Reformation era, emphasising the Church’s authority to interpret Scripture publicly. Paul IV’s reign was
marked by intense conflict with the Habsburgs, and large quantities of Giulio coins were minted to finance the
defence of the Papal States during the “War of Paul IV” against Spanish forces.
Pius IV (1559–1565)
Details
Ruler
Image
Pius IV – 1 Giulio (ND, 1559–1565)
Mint: Rome
Obverse: .PIVS.IIII. .PONT.MAX. — Papal heraldic achievement (Medici palle) Reverse: .ALMA.ROMA. S.PETRVS. — St Peter standing with keys and open book Date: ND (1559–1565), Giulio
Historical Note: Pius IV (Gian Angelo Medici) presided over the final and decisive sessions
of the Council of Trent, the Church’s formal response to the Protestant Reformation. His coat of arms features the
famous Medici palle — six spheres arranged in a circle — properly described as:
“Or, five torteaux in orle gules, a sixth in chief azure charged with three fleurs‑de‑lis or.”
The reverse legend Alma Roma (“Nourishing Rome”) frames St Peter shown not as a militant defender but
as the Teacher of the Church, holding an open Gospel book. This iconography reflects the conciliatory and doctrinal
tone of Pius IV’s pontificate as he sought to stabilise the Church after decades of upheaval.
Pius V (1566–1572) — Dominican
Details
Ruler
Image
Pius V – 1 Quattrino (ND, 1566–1572)
Mint: Fano
Obverse: PIVS . P P . V — Papal heraldic achievement (Ghislieri bars) Reverse: S · PATRNIANI · FANI — St Paternianus standing with mitre and crozier Date: ND (1566–1572), Quattrino
Historical Note: Pius V is remembered for the victory at the Battle of Lepanto and for
codifying the Tridentine Mass, shaping Catholic worship for centuries. His family arms — three red diagonal bars on
a gold field — appear on the obverse. This quattrino was struck at Fano, an ancient Adriatic city whose patron saint,
St Paternianus, appears on the reverse. The saint’s depiction emphasises Fano’s ecclesiastical heritage and its
close ties to the papacy during a period of intense religious and political conflict.
Gregory XIII (1572–1585)
Details
Ruler
Image
Gregory XIII – 2 Sols Parisis (1572–1585)
Mint: Avignon, France
Obverse: GREGORIVS XIII PONTIF MAX — Large ornamental “G” containing the Boncompagni dragon Reverse: + CARO CA LEGA GEOR CA COLE AVEN — Hollow cross fleurdelisée Date: 1572–1585, 2 Sols Parisis
Historical Note: This coin belongs to the Avignon “Co‑Legate” series. The reverse legend names
Cardinals Carolus (Charles de Bourbon) and Georgius (Georges d’Armagnac), who jointly governed the
papal enclave. The large ornamental “G” on the obverse is a clever monogram for Gregory XIII and often encloses
the Boncompagni family emblem — the wingless dragon. As a Sols Parisis, this issue was designed to circulate
within the French monetary system while still asserting papal sovereignty in Provence. Avignon’s coinage during this
period reflects the delicate balance between local French economic realities and the enduring authority of the Holy
See.
Sixtus V (1585–1590) — Franciscan
Details
Ruler
Image
Sixtus V – 1 Baiocco (ND, 1585–1590)
Mint: Montalto delle Marche
Obverse: SIXTVS V P MA — Papal heraldic achievement (Peretti lion) Reverse: MONTALTO — Holy Spirit as a radiant dove ascending Date: ND (1585–1590), Baiocco
Reference:
Berman 1385
Muntoni 208
Historical Note: Sixtus V (Felice Peretti) rose from poverty to become one of the most
transformative popes of the Counter‑Reformation. His heraldry — a lion holding a branch above three hills — became a
symbol of his strength and ambition. The reverse features a radiant dove representing the Holy Spirit, paired with the
name of his hometown, Montalto. By establishing a mint there, Sixtus V elevated his humble origins to the same
numismatic status as Rome and Bologna, blending personal legacy with regional development. His energetic reforms,
sweeping urban projects, and centralisation of papal authority make his coinage especially emblematic of his
far‑reaching vision.
Clement VIII (1592–1605)
Details
Ruler
Image
Clement VIII – 1 Douzain (1595)
Mint: Avignon
Obverse: CLEMENS VIII PONT. MAX. — Aldobrandini arms with keys, flanked by A A Reverse: + OCT. CARD. AQVAVIVA. LEG. AVE 1595 — Scalloped cross with Jerusalem cross and rampant lion Counterstamp: Fleur‑de‑lis Date: 1595, Douzain
Historical Note: Clement VIII (Ippolito Aldobrandini) was a trained jurist and a key figure in
post‑Tridentine Catholic reform. This coin belongs to the “Great Revaluation” of 1640, when earlier Avignon issues were
counterstamped with the French fleur‑de‑lis to circulate as a Quinzain (15 deniers) under Louis XIII. The
reverse names Ottavio Acquaviva, the papal legate of Avignon, while the “A A” on the obverse stands for
Avenio (Avignon). The design reflects the complex monetary and political overlap between France and the papal
enclave.
Clement VIII – 1 Douzain (1593–1599)
Mint: Avignon
Obverse: CLEMENS VIII PONT. MAX. — Aldobrandini arms with keys, flanked by A A Reverse: + OCT. CARD. AQVAVIVA. LEG. AVE — Scalloped cross with Jerusalem cross and lion quadrants Date: 1593–1599, Douzain
Historical Note: The scalloped cross reflects strong French stylistic influence, while the
Jerusalem cross asserts papal spiritual authority over the Holy Land. The rampant lion represents the Acquaviva
family. Like the dated 1595 issue, this piece was later countermarked for French circulation, illustrating the
intertwined monetary history of Provence and the papacy.
Clement VIII – 1 Quattrino (1600)
Mint: Rome
Obverse: CLEMENS VIII PONT. MAX. — Papal heraldic achievement Reverse: M DC — Closed Holy Door (Porta Santa) Date: 1600, Quattrino
Historical Note: Issued for the Jubilee Year of 1600, this quattrino depicts the Porta Santa of
St Peter’s Basilica, shown closed except during Jubilee celebrations when it was ceremonially opened to signify
spiritual renewal. Its appearance on a small copper coin ensured that even the poorest pilgrims encountered this potent
symbol of indulgence and forgiveness. Clement VIII’s reign also saw the final incorporation of Ferrara into the
Papal States.
Clement VIII – 1 Quattrino (1603)
Mint: Bologna
Obverse: BONO / NIA / DOCET / 1603 — Legend in four lines Reverse: Crowned lion rampant left holding banner Date: 1603, Quattrino
Historical Note: “Bononia Docet” (“Bologna Teaches”) is the proud motto of the city, home to the
oldest university in Europe. The crowned lion — often shown holding a banner inscribed Libertas — is the
city’s heraldic emblem. The quattrino, originally worth four denari, remained a staple of Italian petty commerce until
the adoption of the lira in 1861, which finally replaced the medieval accounting system with a decimalised standard.
Paul V (1605–1621)
Details
Ruler
Image
Paul V – 1 Quattrino (ND, 1605)
Mint: Rome
Obverse: PAVLVS V PONT MAX — Borghese heraldic achievement (dragon and eagle) Reverse: S PAVLVS ALMA ROMA — St Paul standing with sword in right hand and book in left Date: ND (1605), Quattrino
Historical Note: Struck in the first year of Paul V’s reign, this quattrino displays the
iconic Borghese arms — the eagle and dragon — symbols that came to define the visual culture of early Baroque Rome.
St Paul appears as both teacher and defender of the faith, holding the Epistles and the sword of doctrine.
Paul V – 1 Quattrino (ND, 1605) — Composite Armetta
Mint: Rome
Obverse: PAVLVS V PONT MAX — Borghese arms Reverse: S PAVLVS ALMA ROMA — St Paul with sword in left hand and book in right Feature: Composite armetta showing arms of Rome, Macerata, and Ancona Date: ND (1605), Quattrino
Historical Note: This variety includes a rare “composite” armetta combining the arms of the three
active papal mints of the period. The reverse depiction of St Paul reinforces Rome’s apostolic identity and the
pope’s guardianship of the faith.
Paul V – 1 Quattrino (ND, 1605–1621)
Mint: Rome
Obverse: PAVLVS V PONT MAX — Borghese arms (eagle and dragon) Reverse: S. PAVLVS ALMA ROMA — St Paul with sword and book; “RP” monogram in field Date: ND (1605–1621), Quattrino
Historical Note: The “RP” monogram is interpreted as Roma Parenti or
Res Publica, marking the output of the Roman mint. Paul V, born Camillo Borghese, was an early supporter
of Galileo and left a lasting architectural legacy in Rome. His arms still dominate the entrances of the Villa
Borghese.
Historical Note: “Bononia Docet” (“Bologna Teaches”) honours the city’s ancient university. The
lion with the banner of liberty symbolised Bologna’s semi‑autonomous civic identity within the Papal States. Paul V
maintained careful diplomatic relations with the city’s senate, and this coinage reflects that balance.
Historical Note: In 1610, Galileo’s Sidereus Nuncius electrified Europe. Scholars at the
University of Bologna organised telescope demonstrations to verify his discoveries. This coin, struck the same year,
circulated in a city at the forefront of scientific revolution.
Paul V – 1 Quattrino (1613)
Mint: Ferrara
Obverse: PAVL • PP • V • AN • PONT • VIII — Capped bust of Paul V left Reverse: PR • FERRARIAE — St George on horseback slaying the dragon Date: 1613, Quattrino
Historical Note: Ferrara had been reintegrated into direct papal rule only fifteen years earlier.
Depicting St George — symbol of triumph over evil — reinforced papal authority and the stability brought by the
Borghese administration. The “PR FERRARIAE” title asserted the pope’s princely jurisdiction over the city.
Urban VIII (1623–1644)
Details
Ruler
Image
Urban VIII – 1 Quattrino (1626/27)
Mint: Rome
Obverse: VRBANVS . VIII . P. M. A. IIII — Barberini heraldic achievement (three bees) Reverse: S . PETRVS . S . PAVLVS / ROMA — Facing busts of St Peter and St Paul Date: 1626/27, Quattrino
Historical Note: Struck in Anno IV, this coin features the Barberini bees — originally
horseflies (tafani) on the family’s early arms, transformed into bees as the family rose in prestige. The
facing busts of Peter and Paul emphasise Rome’s dual apostolic foundation. Urban VIII dramatically expanded
mint output to finance his vast architectural projects, including Bernini’s Baldacchino in St Peter’s.
Urban VIII – 1 Testone (1627)
Mint: Rome
Obverse: VRBAN · VIII · PONT · M · A · VI — Barberini arms (three bees) Reverse: S · PETRVS · S · PAVLVS RO MA — Saints Peter and Paul standing Date: 1627, Testone
Historical Note: Urban VIII (Maffeo Barberini) presided over the greatest territorial extent
of the Papal States, though at enormous financial cost. His arms — “Azure, three bees or” — became one of the most
recognisable heraldic devices of the Baroque era. This Testone circulated widely in Rome’s high‑value commerce during
a period of intense building and military expenditure.
Urban VIII – 1 Quattrino (1636/37)
Mint: Rome
Obverse: VRBANVS . VIII . P . MAX . A . XIIII — Bust of Urban VIII right Reverse: DEVS VIVIT / ROMA — St Michael slaying Satan Date: 1636/37, Quattrino
Historical Note: The dramatic “DEVS VIVIT” reverse shows St Michael casting down Satan,
complete with scales symbolising the weighing of souls. Struck during a period of plague and military tension, the
imagery served as both spiritual reassurance and political propaganda as Urban VIII fortified Rome into a
modern citadel.
Urban VIII – 1 Testone (1632)
Mint: Rome
Obverse: VRBAN . VIII . PONT MAX — Barberini arms Reverse: S * PETRVS * ALMA * ROMA — St Peter seated with keys Date: 1632, Testone
Historical Note: The Testone was the backbone of Roman silver commerce. This 1632 issue features
the Barberini bees in their classic triangular arrangement. The “ALMA ROMA” legend celebrates the city as the
nourishing heart of Christendom. By this time Urban VIII was deeply entangled in the Thirty Years’ War and
Rome’s fortification programme, both of which demanded vast quantities of silver coinage.
Urban VIII – 1 Quattrino (1636–1637)
Mint: Rome
Obverse: VRBANVS VIII PON MAX — Papal heraldic achievement Reverse: VIVIT DEVS — St Michael fighting the devil Date: 1636–1637, Quattrino
Historical Note: This variant of the St Michael type bears the shorter legend “VIVIT DEVS.”
Urban VIII actively promoted the cult of St Michael as celestial protector of the Papal States. During the
mid‑1630s, such coins functioned as both currency and devotional tokens for the Roman populace.
Innocent X (1644–1655)
Details
Ruler
Image
Innocent X – 1/2 Grosso (ND, 1653)
Mint: Rome
Obverse: INN X P. M. A. X — Papal heraldic achievement (Pamphili dove) Reverse: S. PAVLVS ALMA ROMA — Bust of St Paul left Date: ND (1653), Half Grosso
Reference:
KM‑258
Berman 1844
Historical Note: Struck in the tenth regnal year of Innocent X, this silver piece features
the Pamphili family arms: a dove carrying an olive branch. Innocent X (Giovanni Battista Pamphili) is immortalised
in Velázquez’s celebrated portrait, which captures the pope’s sharp intellect and formidable presence. The “Alma Roma”
legend reflects the city’s flourishing during the high Baroque, while the profile bust of St Paul was a standard
motif for smaller silver denominations of the period.
Alexander VII (1655–1667)
Details
Ruler
Image
Alexander VII – 1/2 Grosso (ND, 1655–1667)
Mint: Rome
Obverse: ALEX VII PONT MAX — Papal heraldic achievement (Chigi family arms) Reverse: TEMPE / RATO / SPLEN / DEAT / VSV — Legend in shield‑shaped cartouche Date: ND (1655–1667), Half Grosso
Historical Note: Alexander VII (Fabio Chigi) emphasised only the six mountains and star of
the Chigi arms, avoiding the oak tree motif used by earlier popes such as Sixtus IV and Julius II. The
reverse motto, “Temperato splendeat usu” (“Let it shine with moderate use”), reflects his intellectual and
moralising approach to governance: silver should circulate for the common good, not be hoarded. The Chigi family were
among Rome’s most powerful bankers and major patrons of Bernini, whose works defined the artistic character of the
pontificate.
Alexander VII – Patard (4 Deniers) (ND, 1655–1667)
Mint: Avignon
Obverse: ALEXANDER VII PONT M — Crossed keys beneath tiara Reverse: S PETRVS ET PAVLVS AVEN — Cross in quadrilobe Date: ND (1655–1667), Patard (4 Deniers)
Historical Note: Struck in Avignon for the Comtat Venaissin, this “Patard” follows French
monetary standards rather than Italian ones. The “AVEN” legend identifies Avignon (Avenio). These coins
circulated alongside French royal currency for centuries, symbolising the papacy’s stubborn territorial foothold in
Provence — a persistent diplomatic irritation for French kings who sought to consolidate their realm.
Clement X (1670–1676)
Clement X was born Emilio Bonaventura Altieri and came from a legal background. Nearly 80 at his election,
he nevertheless presided over a flourishing of Baroque Rome. His arms are described as
“Azure, six mullets of six points Or.” He refurbished Palazzo Altieri, installed the twin fountains in St. Peter’s Square,
and commissioned the ten angel statues on the Sant’Angelo Bridge.
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Ruler
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Clement X – Grosso (1670–1676)
Mint: Rome
Obverse: CLEMENS X . PONT . MAX . — Bust of Clement X left Reverse: No legend — Papal heraldic achievement (Altieri stars) Date: ND (1670–1676), Grosso
Historical Note: Clement X was famously reluctant to accept the papacy due to his age.
His coinage is admired for its refined Baroque portraiture, often attributed to the influence of Cardinal Brancati.
The Altieri stars — heraldic mullets, not symbols of the seven hills — dominate the reverse. This Grosso represents
the Rome mint at its artistic peak.
Clement X – 1 Quattrino (1670–1676)
Mint: Gubbio
Obverse: PONT . MAX . CLEM . X — Bust of Clement X left Reverse: Cross on the Holy Door (Porta Santa) Date: ND (1670–1676), Quattrino
Reference:
KM‑31
Berman 2055
Historical Note: Struck for the Jubilee of 1675, this Quattrino features the Porta Santa,
ritually opened by the pope to inaugurate the Holy Year. Regional mints like Gubbio produced these coins to spread
the Jubilee message and indulgence throughout the Papal States.
Clement X – 20 Bolognini (1674)
Mint: Bologna
Obverse: CLEMENS . X . PONT . MAX — Altieri arms Reverse: . BONONIA . DOCET . 1674 GCG 20 — Lion holding LIBERTAS banner Date: 1674, 20 Bolognini
Reference:
KM‑354
Berman 2062
Historical Note: A heavy silver issue showcasing Bologna’s civic pride. “GCG” identifies the
mint master Girolamo Casselli. The lion with the Vexillum Libertatis recalls Bologna’s ancient municipal
rights. These large silver coins were essential for high‑value commerce across the Po Valley.
Clement X – 1/2 Grosso (ND, 1670–1676)
Mint: Ferrara
Obverse: PONT . MAX . CLEM . X . — Papal heraldic achievement Reverse: FER . AVXILIVM — St Peter standing with keys Date: ND (1670–1676), Half Grosso
Historical Note: “FER AVXILIVM” (“Bring Help”) is a devotional plea typical of Ferrara’s
coinage. St Peter acts as intercessor for the city, which had been reintegrated into the Papal States in 1598.
Ferrara’s mint often favoured religious, petitionary legends over the more formal inscriptions of Rome.
Clement X – 1/2 Grosso (1675)
Mint: Rome
Obverse: PONT . MAX . CLEM . X . — Papal heraldic achievement Reverse: APERVIT . ET . CLAVSIT / date — Closed Holy Door Date: 1675, Half Grosso
Historical Note: Issued for the Jubilee of 1675, the reverse legend “APERVIT ET CLAVSIT”
(“He opened and he closed”) refers to the pope’s ritual opening and sealing of the Holy Door. The equal‑armed Greek
cross on the door symbolises sacred authority and the Jubilee’s promise of indulgence.
Clement X – 1 Grosso (ND, 1670–1676)
Mint: Rome
Obverse: CLEMENS . X . PONT . MAX — Bust right Reverse: S . PAVLVS . APOSTOLVS — St Paul standing with upright sword Date: ND (1670–1676), Grosso
Reference:
KM‑338
Historical Note: St Paul appears in his classic Counter‑Reformation pose: the soldier of
Christ wielding the “Sword of the Spirit.” Pairing Peter and Paul across denominations reinforced Rome’s identity as
the city of the Apostles. The portrait of Clement X is a fine example of the high‑Baroque realism of the 1670s.
Innocent XI (1676–1689)
The coat of arms of Pope Innocent XI features winged cherubim flanking a shield containing an eagle above a lion passant
and six cups — the heraldry of the Odescalchi family.
Historical Note: Struck in Anno V, the reverse legend
“Sub tuum praesidium” (“Under Thy Protection”) is one of the oldest Marian prayers.
For the Gubbio mint, this imagery offered spiritual reassurance during a period of agricultural hardship.
The Odescalchi arms — incense burner, three pitchers, and lion — appear prominently on the obverse.
Innocent XI – 1 Giulio (1684)
Mint: Rome
Obverse: INNOCEN XI.PONT.M.A.VIII. — Papal heraldic achievement Reverse: QVI DAT / PAVPERI / NON / INDIGEBIT / 1684 — Inscription on drapery Date: 1684, Giulio
Historical Note: The reverse quotes Proverbs 28:27:
“Whoever gives to the poor will have no need.”
Innocent XI was known for austerity and moral reform, abolishing the lavish nepotistic stipends of earlier popes.
The Baroque drapery cartouche mirrors the decorative style of Roman churches of the period.
Historical Note: The motto “Nocet minus” (“It hurts less”) is a clever piece of
papal economic messaging. It suggests that small, widely distributed taxes or duties are less burdensome than large
levies — a defence of Innocent XI’s fiscal reforms. The Rome mint frequently used such moralising inscriptions
during his reign.
Alexander VIII (1689–1691)
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Alexander VIII – 1 Quattrino (ND, 1689–1691)
Mint: Gubbio
Obverse: ALEXANDER . VIII . P . M — Papal heraldic achievement (Ottoboni eagle) Reverse: SANCTVS . PETRVS . AP . — St Peter standing with keys and book Date: ND (1689–1691), Quattrino
Historical Note: Although Alexander VIII reigned for only two years, his coinage is
distinctive. The Ottoboni arms feature a double‑headed imperial eagle in the upper half of the shield, signalling
the family’s Venetian and imperial connections.
Provincial mints like Gubbio retained traditional apostolic imagery — here a full‑length St Peter — ensuring
recognisability for rural populations, even as the Rome mint moved toward more elaborate allegorical designs.
Innocent XII (1691–1700)
The heraldic achievement of Pope Innocent XII features the papal tiara and Keys of Heaven above a shield with
three pots — the “canting arms” of the Pignatelli family.
Details
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Innocent XII – 1/2 Bolognino (1691)
Mint: Bologna
Obverse: BONONIA DOCET — Bologna city arms Reverse: MEZO BOLOGNINO / 1691 — Legend within wreath Date: 1691, Half Bolognino
Historical Note: Struck in the first year of Innocent XII’s reign, this coin celebrates
Bologna’s civic identity. The quartered shield shows the red cross of the Commune and the “LIBERTAS” motto, while
the Capo d’Angiò (blue band with fleurs‑de‑lis) recalls Bologna’s medieval Guelph allegiance.
Allowing the city’s arms to dominate the design reflects the delicate balance between papal authority and Bologna’s
proud municipal traditions.
Innocent XII – 1/2 Baiocco (ND, 1691–1700)
Mint: Gubbio
Obverse: INNOC. XII PONT MAX — Papal heraldic achievement (Pignatelli pots) Reverse: MEZO / BAIOC / CO — Legend within wreath Date: ND (1691–1700), Half Baiocco
Historical Note: Innocent XII’s arms feature three “pignatte” (pots), a pun on the
Pignatelli name. His bull Romanum decet Pontificem famously abolished papal nepotism.
Gubbio’s “MEZO” spelling reflects local orthography, and these small copper coins circulated widely in the rural
markets of Umbria.
Historical Note: The motto “Elevat pauperem” (“He raises the poor”) comes from
Psalm 112:7 and reflects Innocent XII’s deep social conscience. He converted the Lateran Palace into a
hospital for the poor and earned the title “Father of the Poor.”
The Baroque drapery cartouche imitates monumental inscriptions found in Roman churches.
Innocent XII – 1 Quattrino (ND, 1695)
Mint: Rome
Obverse: INNO XII PO M A V — Papal heraldic achievement Reverse: SANCTVS PAVLVS AP — St Paul standing with sword Date: ND (1695), Quattrino
Historical Note: St Paul, with his sword, symbolises both martyrdom and the “Sword of the
Spirit.” Under Innocent XII, even low‑value copper coins were engraved in high relief, ensuring that the
apostolic imagery remained clear in daily circulation.
Innocent XII – 1 Quattrino (1699)
Mint: Bologna
Obverse: Lion rampant left holding banner with cross Reverse: BONO / NIA / DOCET / 1699 — Legend and date Date: 1699, Quattrino
Historical Note: The lion of Bologna, often bearing the LIBERTAS banner, symbolises the city’s
ancient municipal rights. By 1699, the Bologna mint enjoyed considerable artistic independence, and its civic
heraldry often overshadowed papal imagery on small denominations.
Innocent XII – 1 Quattrino (ND, 1699)
Mint: Gubbio
Obverse: INN. XII P:M. A. IX — Papal heraldic achievement (Pignatelli pots) Reverse: SANC PAVLVS AP — St Paul seated with sword and book Date: ND (1699), Quattrino
Historical Note: Struck in Anno IX, this Gubbio issue shows St Paul in a more
contemplative pose — seated with both sword and open book — emphasising his dual role as defender and teacher.
The Pignatelli pots mark the final full year of Innocent XII’s reign before the Jubilee of 1700.
Clement XI (1700–1721)
Details
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Clement XI – 1 Giulio (ND, 1706)
Mint: Rome
Obverse: CLEMENS·XI· ·PONT·M·A·IX — Papal heraldic achievement Reverse: NON CONCVPISCES ARGENTVM — Inscription in cartouche Date: ND (1706), Giulio
Historical Note: Struck during the War of the Spanish Succession, this Giulio bears the
admonition “Thou shalt not covet silver,” a pointed reminder of monetary restraint during a period of European
financial instability. Clement XI’s coinage often blended moral instruction with political messaging.
Clement XI – 1 Quattrino (ND, 1719)
Mint: Gubbio
Obverse: CLEM٠XI٠ P٠M٠A٠XX — Papal heraldic achievement (Albani arms) Reverse: S٠PETRVS٠AP٠ — St Peter facing right Date: ND (1719), Quattrino
Historical Note: Issued in the 20th regnal year, this Gubbio Quattrino reflects the long
and stable Albani papacy. Regional copper issues like this helped maintain economic continuity in the Umbrian
territories during a period of shifting European alliances.
Clement XI – 1 Bolognino (1714)
Mint: Bologna
Obverse: BONONIA DOCET — Inscription above shield Reverse: MEZO BOLOGNINO — Value above half‑lion; date below Date: 1714, Bolognino
Historical Note: Clement XI was a major patron of the arts, and his Rome‑mint silver
issues are among the most elegant of the early 18th century. The depiction of St Paul reinforces Rome’s
apostolic identity during a period of renewed artistic and theological expression.
Benedict XIII (1724–1730) (Dominican)
Details
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Benedict XIII – 1 Quattrino (ND, 1724–1730)
Mint: Gubbio
Obverse: BENED XIII.P.M — Papal heraldic achievement Reverse: S VBALDVS EPISCOS — St Ubaldus standing with crozier Date: ND (1724–1730), Quattrino
Historical Note: St Ubaldus, the 12th‑century Bishop of Gubbio, appears with the title
“EPISCOS,” a shortened form of episcopus. Benedict XIII — a deeply pious Dominican — favoured
provincial issues that highlighted local saints and protectors, reinforcing the pastoral identity of the Umbrian
territories.
Benedict XIII – 1 Quattrino (ND, 1724–1730)
Mint: Gubbio
Obverse: BENED XIII.P.M — Papal heraldic achievement Reverse: S VBALDVS EP EVGVBILL — St Ubaldus with crozier Date: ND (1724–1730), Quattrino
Historical Note: This variant uses the fuller Latin title
Episcopus Eugubii (“Bishop of Gubbio”).
The Gubbio mint was especially active under Benedict XIII, and its varied legends reflect a strong local pride
in the city’s medieval Latin identity.
Benedict XIII – 1/2 Bolognino (1726)
Mint: Bologna
Obverse: BONONIA DOCET / LIBERTAS — Bologna city arms Reverse: MEZZO BOLOGNINO / 1726 — Lion rampant with banner Date: 1726, Half Bolognino
Historical Note: This coin beautifully expresses Bologna’s dual identity:
Bononia Docet (“Bologna teaches”) for its university, and Libertas for its ancient municipal
freedoms. The dynamic “rampant” lion forced the engraver to curve the date and legends around the figure, giving the
reverse its distinctive Baroque energy.
Clement XII (1730–1740)
Details
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Clement XII – 1 Giulio (ND, 1735)
Mint: Rome
Obverse: CLEMENS XII P M A VI — Bust right Reverse: A . A . A / F . F / RESTITVTVM / COMMERC — 4‑line inscription in wreath; arms of Mons. Filippo Casoni below Date: ND (1735), Giulio
Historical Note: The abbreviation “A.A.A.F.F.” revives the ancient Roman mint formula
Auro, Argento, Aere, Flando, Feriundo — “for melting and striking gold, silver, and copper.”
The inscription “Restored Commerce” celebrates Clement XII’s economic reforms.
The arms of Filippo Casoni, Treasurer General, appear beneath the wreath.
Clement XII – 1 Giulio (ND, 1735)
Mint: Rome
Obverse: CLEMENS XII PONT M A VI — Papal heraldic achievement Reverse: ABVNDET / IN / GLORIAM / DEI — 4‑line inscription in cartouche; arms of Mons. Casoni below Date: ND (1735), Giulio
Historical Note: The motto “Abundet in gloriam Dei” (“May it abound to the glory of God”)
comes from 2 Corinthians 4:15.
This issue reflects the belief that prosperity and good governance were signs of divine favour.
The arms of Monsignor Casoni again mark his oversight of the mint.
Clement XII – 1 Grosso (1736)
Mint: Rome
Obverse: CLEMENS XII P M A VII — Bust right Reverse: IN · CIBOS / PAVPERVM / 1736 — Inscription in wreath Date: 1736, Grosso
Historical Note: “For the food of the poor” refers to the Roman Annona system —
the papal grain and bread subsidy.
These coins circulated widely among the city’s poor, making the message both literal and symbolic.
Clement XII – 1 Grosso (1736)
Mint: Rome
Obverse: CLEMENS XII P M A VII — Papal arms Reverse: TOLLE / ET / PROIICE / 1736 — Inscription in cartouche Date: 1736, Grosso
Historical Note: “Take it and cast it away” echoes Gospel admonitions against sin and
hoarding.
In numismatic context, it was often interpreted as an exhortation to give alms freely.
Clement XII’s minting policy frequently blended moral instruction with economic messaging.
Clement XII – 1 Quattrino (1738)
Mint: Rome
Obverse: CLEM.-XII . P . M . A VIII — Papal heraldic achievement Reverse: QVAT / TRINO / ROM / 1738 — Legend within border Date: 1738, Quattrino
Historical Note: The “Quattrino Romano” was the basic unit of Rome’s street‑market economy.
The explicit “ROM” mark guaranteed its validity within the capital, where counterfeit copper had been a recurring problem.
Clement XII – 1 Quattrino (1730–1740)
Mint: Gubbio
Obverse: CLEM.-XII . P . M . — Papal heraldic achievement Reverse: S . PETRVS . - AP . — Bust of St Peter right with halo Date: ND (1730–1740), Quattrino
Historical Note: Provincial mints like Gubbio favoured saintly imagery to reinforce local
devotion.
St Peter — the “First Pope” — served as a visual bridge between rural Umbrian communities and the central
authority of Rome.
Sede Vacante 1740 (Annibale Albani)
The Camerlengo — always a Cardinal — administers the Church during the interregnum between the death of a Pope and the
election of his successor. He confirms the Pope’s death, seals the papal apartments, oversees the Church’s temporal
goods, and prepares the Conclave.
In 1740, the Camerlengo was Cardinal Annibale Albani.
In the entire history of the Church, only two Camerlengos have gone on to become Pope: Honorius III (1216) and Alexander IV (1254).
Details
Camerlengo
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Sede Vacante – 1/2 Baiocco (1740)
Mint: Rome
Obverse: SEDE VACAN. MDCCXXXX — Arms of Cardinal Annibale Albani under Ombrellino and Keys Reverse: MEZZO . BAIOCCO / ROM. / 1740 — Legend within wreath Date: 1740, Half Baiocco
Historical Note: Issued during the vacancy following the death of Clement XII, this coin bears
the Albani family arms — a fess between a star and a mountain — surmounted by the Ombrellino and Crossed Keys,
symbols of temporary papal authority.
As Camerlengo, Albani oversaw the Rome mint and the administration of the Papal States until the election of
Benedict XIV.
Historical Note: The prayer “Illuminet corda nostra” (“May He enlighten our hearts”) invokes
the Holy Spirit’s guidance for the Cardinals in Conclave.
The 1740 Conclave was famously long — nearly six months — and these coins circulated as both currency and
devotional reminders of the Church’s plea for divine inspiration.
Albani, a noted patron of the arts and a keen numismatist, ensured these issues were engraved with exceptional
quality despite their brief period of production.
Benedict XIV (1740–1758)
Details
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Benedict XIV – 1 Quattrino (1740–1758)
Mint: Ravenna
Obverse: Papal heraldic achievement Reverse: S.A.P.RAV — St Apollinaris standing with long cross Date: ND (1740–1758), Quattrino
Historical Note: St Apollinaris, first Bishop of Ravenna, appears prominently on this
regional issue. Benedict XIV’s scholarly interest in early Christianity made such depictions a hallmark of his
coinage, especially in historically significant sees like Ravenna.
Historical Note: A legend variant of the Ravenna type, retaining the same iconography of the
city’s patron saint. These small copper issues reinforced local religious identity within the Papal States.
Historical Note: “Extend your hand to the poor” reflects Benedict XIV’s reputation as a
compassionate reformer. Rome‑mint silver often carried moral exhortations during his early reign.
Benedict XIV – 1 Quattrino (1742)
Mint: Bologna
Obverse: BENED. XIV PONT. MAX. — Papal heraldic achievement Reverse: BONONIA DOCET 1742 — Lion with banner Date: 1742, Quattrino
Historical Note: Bologna’s proud motto “Bononia Docet” (“Bologna teaches”) honours its
medieval university. Benedict XIV, himself a Bolognese, maintained strong ties to the city throughout his
pontificate.
Benedict XIV – 1 Grosso (1743)
Mint: Rome
Obverse: BENED.XIV P.M. AN . III . — Papal heraldic achievement Reverse: OCVLI / EIVS / IN·PAVPEREM / 1743 — Inscription in wreath Date: 1743, Grosso
Historical Note: St Ubaldus, patron of Gubbio, appears mitred and holding a crozier.
Provincial mints often emphasised local saints to reinforce regional identity.
Historical Note: Another legend variant of the Gubbio Ubaldus type, showing the diversity of
inscriptions used at this active provincial mint.
Benedict XIV – 1/2 Baiocco (1746)
Mint: Ferrara
Obverse: BENEDICT XIV . P . M . A . VII — Papal heraldic achievement Reverse: MEZZO / BAIOCCO / FERRARA / 17 46 — Date split by arms of Legate Cardinal Crescenzi Date: 1746, Half Baiocco
Historical Note: Ferrara’s coinage often included the arms of the Papal Legate, here Cardinal
Marcello Crescenzi. Such inclusion signified delegated papal authority in this strategically important northern city.
Benedict XIV – 1/2 Baiocco (1750)
Mint: Ferrara
Obverse: No inscription — Papal heraldic achievement Reverse: BEN. XIV M. A. IVB. CIꓛ٠Iꓛ٠C.C.L. — Holy Door with radiant triangle Date: 1750, Half Baiocco
Historical Note: A Jubilee‑year issue featuring the Holy Door, symbol of indulgence and
spiritual renewal. The radiant triangle represents the Trinity.
Benedict XIV – 1/2 Baiocco (1750)
Mint: Rome
Obverse: BENED·XIV / PON·M·A·XI — Papal heraldic achievement Reverse: MEZZO BAIOCCO / 1750 / AN·IVB — Holy Door open with rays Date: 1750, Half Baiocco
Historical Note: This Bologna issue continues the proud “Bononia Docet” tradition.
The rope‑wreath border — typical of mid‑18th‑century Bolognese copper — symbolised the unity and strength of the
city’s guild economy. By 1751, Benedict XIV had been pope for over a decade, and these small copper coins
were essential for daily commerce in his native city.
Benedict XIV – 1 Quattrino (1754–1756)
Mint: Rome
Obverse: BENED.XIV PON.M.A.XVI — Papal heraldic achievement Reverse: QVATRI / NO / ROMANO / 1756 — Value within rope wreath Date: 1754–1756, Quattrino
Historical Note: The “Quattrino Romano” was the smallest unit of Rome’s urban coinage.
The rope‑wreath border helped deter clipping — a common problem during economic hardship.
Anno XVI marks the later years of Benedict XIV’s long pontificate.
Benedict XIV – 1 Quattrino (1756)
Mint: Rome
Obverse: BENED.XIV PON.M.A.XVI — Papal heraldic achievement Reverse: QVATRI / NO / ROMANO / 1756 — Value within rope wreath Date: 1756, Quattrino
Historical Note: By 1756, Benedict XIV was in the twilight of his reign.
Despite Europe approaching the Seven Years’ War, the Rome mint maintained steady production of these small copper
pieces to support the city’s internal trade.
Benedict XIV – 2 Giuli (1756, A.XVI)
Mint: Rome
Obverse: BEN.XIV PON.M.A.XVI — Bust right Reverse: MDCCLVI — Ecclesia seated on clouds holding keys; church building behind Date: 1756, 2 Giuli
Historical Note: This double‑Grosso features “Ecclesia,” the personification of the Church,
enthroned on clouds. The background structure likely represents St Peter’s Basilica, reinforcing the pope’s
role as guardian of the Church.
Benedict XIV – 2 Giuli (1756, A.XVII)
Mint: Rome
Obverse: BEN.XIV PON.M.A.XVII — Bust right Reverse: MDCCLVI — Ecclesia seated on clouds holding keys Date: 1756, 2 Giuli
Historical Note: Anno XVII marks the rare longevity of Benedict XIV’s pontificate.
Despite his advanced age, the Rome mint continued producing high‑quality silver, emphasising the timelessness of the
Church through the Ecclesia motif.
Clement XIII (1758–1769)
Details
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Clement XIII – 1/2 Baiocco (1758)
Mint: Rome
Obverse: CLEM٠XIII PON٠M٠A٠I٠ — Papal heraldic achievement (Rezzonico arms) Reverse: MEZZO / BAIOCCO / ROM٠ / 1758 — Value and date within wreath Date: 1758, Half Baiocco
Historical Note: Issued in the first year of Clement XIII’s reign, this half baiocco
reflects the mid‑18th‑century Roman emphasis on clear, neoclassical layouts.
The Rezzonico arms highlight the pope’s Venetian noble origins, while the wreath reverse typifies the Rome mint’s
preference for orderly, easily recognisable small‑change designs.
Clement XIII – 1 Baiocco (1758)
Mint: Rome
Obverse: CLEM.XIII PON.M.A.I. — Papal heraldic achievement Reverse: . VN . / BAIOCCO / ROMANO / . 1758 . — Value and date within wreath Date: 1758, Baiocco
Historical Note: A first‑year issue marking Clement XIII’s accession.
“BAIOCCO ROMANO” identifies it as currency for Rome and its immediate district.
These copper pieces formed the backbone of daily commerce for the Roman working class, and the laurel wreath symbolised
stability and peace at the beginning of a new pontificate.
Clement XIII – 1 Teston (1761)
Mint: Rome
Obverse: CLEMENS.XIII PONT.M.A.IV. — Papal heraldic achievement Reverse: S. PETRVS S PAVLVS MDCCLXI — Saints Peter and Paul standing; radiant dove above; arms of Mons. Paolo Massei below Date: 1761, Teston
Historical Note: The Teston (three‑giulii piece) features Rome’s apostolic patrons, Peter and
Paul, with the Holy Spirit descending between them.
The arms of Monsignor Paolo Massei, Treasurer General, appear below — a sign of the administrative oversight required
as fiscal pressures mounted in the 1760s.
Historical Note: “Woe to you who are rich” — a stark Gospel warning from Luke.
Clement XIII’s austerity and moral seriousness are reflected in this unusually severe inscription, aimed at
reminding Rome’s wealthy elite of their obligations to charity.
Historical Note: The Grosso was a key mid‑value silver coin.
The inscription urges frugality — a theme increasingly emphasised as Enlightenment‑era economic pressures mounted.
These coins circulated widely among ordinary Romans, carrying the Church’s moral messaging into daily life.
Historical Note: A continuation of the frugality theme, quoting Sirach 31:19:
“Eat as it becometh a man… devour not, lest thou be hated.”
These Grossi are emblematic of Clement XIII’s moralising approach to coinage during a period of rising
economic tension.
Pius VI (1775–1799)
Details
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Pius VI – 1 Quattrino (1778)
Mint: Bologna
Obverse: PIVS VI PONT M — Braschi heraldic achievement Reverse: BONO / NIA / DOCET / 1778 — Legend and date within wreath Date: 1778, Quattrino
Historical Note: The Braschi arms feature **Boreas**, the North Wind, blowing across lilies
beneath three stars — a Rococo emblem of steadfastness amid the “winds of change” of the Enlightenment.
Though elegant, these coins were issued only two decades before Napoleon’s invasion of the Papal States.
Pius VI – 1 Carlino (1778)
Mint: Rome
Obverse: LIBER / LIBER / Date — Papal heraldic achievement Reverse: PIVS VI PONT MAXIM — Lily plant; value in exergue Date: 1778, Carlino (5 Baiocchi)
Historical Note: The Carlino was a popular silver denomination in Rome.
The lily plant mirrors the floral elements of the Braschi arms and symbolises purity.
Legends such as “LIBER LIBERTAS” or “AUXILIUM DE SANCTO” often appeared on these pieces, emphasising divine protection
and spiritual liberty.
Pius VI – 1 Quattrino (1779)
Mint: Bologna
Obverse: PIVS VI PONT M — Braschi heraldic achievement Reverse: BONO / NIA / DOCET / 1779 — Legend and date within wreath Date: 1779, Quattrino
Historical Note: Although sometimes misattributed to Rome, the “BONONIA DOCET” legend
confirms Bologna as the mint.
The Braschi arms with **Boreas** blowing across lilies appear again, beneath the papal triregnum — a reminder of
papal sovereignty during a period when revolutionary ideas were beginning to spread across Europe.
Pius VI – 1 Baiocco (1780)
Mint: Bologna
Obverse: PIVS SEXTVS PONT MAX A VII — Lily plant in laurel wreath; date in exergue Reverse: * BONON * DOCET — Two shields: Boncompagni cardinal‑legate arms (with galero) at left;
Bologna civic arms with lion at right Date: 1780, Baiocco
Historical Note: The paired shields represent Bologna’s dual authority:
the **cardinal‑legate** (Boncompagni arms with galero) governing on behalf of the pope, and the **civic arms** of Bologna
asserting the city’s ancient municipal identity.
This baiocco is a perfect example of how Bologna’s coinage visually expressed the balance between papal sovereignty and
local autonomy.
Pius VI – 2 Giuli (1780)
Mint: Rome
Obverse: PIVS SEXTVS PONT MAX A VII — Bust of Pius VI right Reverse: AVXILIVM DE SANCTO 1780 — Ecclesia seated on clouds holding keys; basilica behind Date: 1780, 2 Giuli (0.2 Scudo)
Historical Note: The reverse shows **Ecclesia**, personification of the Church, enthroned on
clouds and holding the keys of St Peter.
The legend “Auxilium de Sancto” (“Help from the Sanctuary”) reflects Pius VI’s appeals for divine aid as Europe’s
political climate grew increasingly unstable in the years preceding the French Revolution.
Pius VI – 2 Carlini (1781)
Mint: Rome
Obverse: PIVS SEXTVS P.M. A VII — Braschi heraldic achievement Reverse: DVE / CARLINI / ROMANI / 1781 — Value and date within wreath Date: 1781, 2 Carlini
Historical Note: The “Due Carlini” (15 baiocchi) is an unusual Roman denomination, likely
struck to harmonise with Neapolitan monetary standards.
The Braschi arms — with Boreas blowing across lilies — are rendered in full late‑Baroque splendour, while the
reverse wreath reflects the rising Neoclassical aesthetic of the 1780s.
Pius VI – Double Giulio (1783–1784)
Mint: Rome
Obverse: PIVS.SEXTVS PONT.M.A.IX — Papal heraldic achievement Reverse: AVXILIVM DE SANCTO — Ecclesia seated on clouds; no date on obverse Date: 1783–1784, Double Giulio (0.2 Scudo)
Historical Note: A distinct variety of the Doppio Giulio:
the basilica dome lacks its cross, and the obverse carries no date.
The “Auxilium de Sancto” theme was heavily used in the 1780s as Pius VI sought to reinforce the Church’s spiritual
authority during the turbulent years leading up to the French Revolution.
Pius VI – 1 Grosso (ND, 1784)
Mint: Rome
Obverse: PIVS SEXT PON M. A X — Braschi heraldic achievement Reverse: AUXILIUM / DE / SANCTO — Inscription within wreath Date: ND (1784), Grosso
Historical Note: A smaller silver denomination from the 10th regnal year.
The Braschi arms again show Boreas blowing across lilies.
The simplified “Auxilium de Sancto” text‑only reverse reflects the late‑18th‑century shift toward Neoclassical clarity
in Roman coin design.
Pius VI – 1 Baiocco (1782)
Mint: Rome
Obverse: .PIVS SEXTVS P.M. 1782 — Crossed keys with cord tassels splitting the date Reverse: VN / BAIOCCO / ROMANO — Value above large star Date: 1782, Baiocco
Historical Note: The tassels of the crossed keys deliberately divide the date (1‑78‑2), a
quirk of the engraver’s layout on a crowded copper flan.
The large star on the reverse echoes the stars in the Braschi family arms, subtly marking papal authority even on
the humblest Roman copper.
Pius VI – 1 Quattrino (1784)
Mint: Bologna
Obverse: PIVS VI PONT M — Braschi heraldic achievement Reverse: BONO / NIA / DOCET / 1784 — Legend and date within wreath Date: 1784, Quattrino
Historical Note: By 1784, Bologna’s mint was running at full capacity to supply the Legations
with small change.
The Braschi arms again show Boreas blowing across lilies — a symbol of resilience as Pius VI struggled to finance
massive public works such as the Pontine Marsh drainage.
Pius VI – 1 Baiocco (1785)
Mint: Rome
Obverse: .PIVS SEXTVS P.M. 1785 — Crossed keys with cord tassels Reverse: VN / BAIOCCO / ROMANO — Value above large star Date: 1785, Baiocco
Historical Note: A more balanced layout than the 1782 variety, though the same star motif
remains — a heraldic echo of the Braschi arms.
By 1785, Rome’s economy was strained, and copper baiocchi were among the few denominations the treasury could
reliably issue to maintain liquidity for the poor.
Pius VI – 2 Baiocchi (ND, 1786)
Mint: Rome
Obverse: PIVS . SEXTVS PON M A XII — Braschi heraldic achievement Reverse: DVE / BAIOCCHI / ROMANI — Value within wreath Date: ND (1786), 2 Baiocchi
Historical Note: Engraved by **Tommaso Mercandetti**, one of the finest die‑cutters of the
late 18th century.
His crisp rendering of the Braschi arms reflects the mint’s attempt to elevate the artistic quality of copper
coinage to combat widespread counterfeiting.
Pius VI – 1 Grosso (ND, 1787)
Mint: Rome
Obverse: PIVS SEXT PON M. A XIII — Braschi heraldic achievement Reverse: AUXILIUM / DE / SANCTO — Inscription within wreath Date: ND (1787), Grosso
Historical Note: A late‑period silver issue from Year XIII, just before the Napoleonic
disruptions.
The wreath design reflects the mint’s shift toward a more rigid, proto‑industrial aesthetic, while the Braschi arms
retain their full complexity — including Boreas blowing across lilies.
Pius VI – Double Giulio (1788)
Mint: Rome
Obverse: PIVS.SEXTVS PONT.M.A.XIV — Papal heraldic achievement (oval shield) Reverse: AVXILIVM DE SANCTO — Ecclesia seated on clouds Date: 1788, Double Giulio (0.2 Scudo)
Historical Note: A notable variety featuring an **oval shield** rather than the ornate
Baroque cartouche.
The Ecclesia motif — keys in hand, clouds beneath — is classic Counter‑Reformation iconography.
This was among the last high‑quality silver issues before the financial strain of the Napoleonic era forced a
reduction in fineness.
Pius VI – 1 Quattrino (1796)
Mint: Bologna
Obverse: ·PIVS· / SEXTVS / PONT.IFEX / MAXIMVS — Inscription above stars and value Reverse: BONON· DOCET / 1796 — Value and date; “Baiocchi due e mezzo Romani” inscription Date: 1796, Quattrino
Historical Note: Struck during the French Revolutionary invasion of northern Italy, this
Bologna quattrino represents the final phase of papal minting before the collapse of papal authority in the region.
Despite military occupation and political upheaval, the Bologna mint continued issuing small change to keep local
commerce functioning.
The classic motto Bononia Docet (“Bologna teaches”) asserts the city’s enduring civic identity even as its
future grew uncertain under French control.
Pius VI – 2½ Baiocchi (1796)
Mint: Rome
Obverse: APOSTOLORVM PRINCEPS / T.M. — St Peter facing left (engraver Tommaso Mercandetti) Reverse: BAIOCCHI / DVE E MEZZO / ROMANI / 1796 — Value with three stars Date: 1796, 2½ Baiocchi (“Sampietrino”)
Historical Note: Known as the **Sampietrino**, this large copper coin was engraved by the
celebrated Tommaso Mercandetti.
Issued during the financial crisis caused by Napoleon’s demands under the Treaty of Tolentino, these emergency
copper pieces replaced silver that had been melted for indemnity payments.
St Peter as “Prince of the Apostles” was intended to bolster Roman morale during the French occupation.
Pius VI – Muraiola (2 Bolognini) (1794)
Mint: Bologna
Obverse: PIVS . VI . PONT . MAX 1794 — Bust of Pius VI right Reverse: S . PETRON . BON . PROT — St Petronius blessing a model of Bologna Date: 1794, 2 Bolognini
Historical Note: The Muraiola was a key small‑silver denomination in the Romagna region.
St Petronius, Bologna’s 5th‑century patron, appears holding a miniature of the city’s towers.
By 1794, the silver content of these coins was declining as the Papal treasury diverted resources to defend the
northern frontiers against the advancing French armies.
Pius VI – Muraiola (4 Bolognini) (1796)
Mint: Bologna
Obverse: PIVS · VI · PONT · MAX — Bust of Pius VI right Reverse: S · PETRON · B · PROT · 1796 — St Petronius with city model Date: 1796, 4 Bolognini
Historical Note: The “Double Muraiola” was struck in the same year Napoleon entered Bologna,
ending centuries of papal rule.
The city model held by St Petronius includes Bologna’s iconic leaning towers — a proud emblem of civic identity
soon absorbed into the Napoleonic Cispadane Republic.
Pius VII (1800–1823) (Benedictine)
Details
Ruler
Image
Pius VII – 1/2 Baiocco (1802)
Mint: Rome
Obverse: PONTIFICATVS AN. SECVNDO / M.BAI — Chiaramonti arms Reverse: PIVS SEPTIMVS PONTIFEX MAXIMVS MDCCCII — Five‑line legend with three stars Date: 1802, Half Baiocco
Historical Note: Struck in regnal year II, shortly after the 1801 Concordat with Napoleon.
The Chiaramonti arms combine the family bars and moor’s head with the Benedictine “PAX” emblem.
The broad reeded border was a deliberate anti‑clipping measure during a period of inflation and unstable copper supply.
Pius VII – Mezzo Baiocco (1816)
Mint: Rome
Obverse: PONTIFICATVS ANNO XVII / MATTEINO — Papal arms Reverse: PIVS SEPTIMVS PONTIFEX MAXIMVS MDCCCXVI — Five‑line legend with three stars Date: 1816, Mezzo Baiocco (“Matteino”)
Historical Note: Issued in regnal year XVII, shortly after Pius VII’s return from French
captivity.
“Matteino” was the Roman nickname for this denomination, revived during the massive 1816 monetary reform that
purged French revolutionary currency from circulation.
Pius VII – 1 Baiocco (1816)
Mint: Bologna
Obverse: PONTIFICATVS ANNO XVII / BAIOCCO — Chiaramonti arms Reverse: PIVS SEPTIMVS PONTIFEX MAXIMVS MDCCCXVI — Five‑line legend with three stars Date: 1816, Baiocco
Historical Note: Struck by Giuseppe and Giovanni Pasinati.
Bologna’s issues lack the heavy reeded borders of Rome.
The Chiaramonti arms combine family heraldry with Benedictine symbolism, reflecting Pius VII’s monastic identity.
These coins were essential in transitioning Bologna back from the French decimal system to the restored Papal lira.
Pius VII – 1 Grosso (1816–1817)
Mint: Bologna
Obverse: PIVS VII P.M. A. XVII — Papal heraldic achievement Reverse: PAVPERI PORRIGE MANVM / MDCCCXVII / B — Inscription in wreath Date: 1816–1817, Grosso
Historical Note: Issued during the famine following the “Year Without a Summer” (1816–17).
The reverse legend — “Stretch out your hand to the poor” — is a direct appeal from Ecclesiasticus 7:32.
The “B” confirms Bologna minting.
Although dated 1816 on the obverse, many pieces bear 1817 on the reverse due to overlapping regnal and calendar years.
Sede Vacante 1823
The heraldic achievement of Cardinal Bartolomeo Pacca features a tripartite shield:
a knight with upraised sword on gold (chief), a knight with upraised sword on azure (fess),
and a skull and crossbones on black (base). The knights reference the Knights of St John of Jerusalem.
The shield is flanked by cords with six tassels, topped by the crossed keys and the **Ombrellino**,
and surmounted by a radiant bird — the classic insignia of the Camerlengo during a papal interregnum.
Details
Camerlengo
Image
Sede Vacante – 1/2 Scudo (1823)
Mint: Bologna
Obverse: SEDE VACANTE MDCCCXXIII — Arms of Cardinal Pacca under Ombrellino and Keys Reverse: AVXILIVM DE SANCTO / B — Ecclesia seated on clouds; “B” mintmark Date: 1823, Half Scudo
Historical Note: Struck during the interregnum between Pius VII and Leo XII, this half scudo
bears the distinctive arms of Camerlengo Bartolomeo Pacca beneath the Ombrellino — the emblem of a vacant Holy See.
The reverse shows **Ecclesia** enthroned on clouds, with the Bologna mintmark “B”.
The edge inscription *IN TERRA PAX* (“Peace on Earth”) expressed a prayer for stability during the delicate
transition of papal authority in the post‑Napoleonic era.
Leo XII (1823–1829)
Details
Ruler
Image
Leo XII – 1/2 Baiocco (1824)
Mint: Bologna
Obverse: LEO XII PON. MAX. ANNO II — Della Genga heraldic achievement Reverse: MEZZO / BAIOCCO / ROM / 1824 / B — Value in wreath; “B” mintmark Date: 1824, Half Baiocco
Historical Note: Leo XII, a strict conservative, sought to restore strong papal authority after
the turbulence of the Napoleonic era.
His arms feature a crowned eagle — the emblem of the Della Genga family.
Although the reverse reads “ROM” (Roman standard), the **“B”** mintmark confirms Bologna struck this issue.
These copper coins were part of a broader effort to stabilise the economy following the unsettled Sede Vacante of 1823.
Pius VIII (1829–1830)
Details
Ruler
Image
Pius VIII – 1 Baiocco (1829)
Mint: Rome
Obverse: PIVS.VIII.PONT.MAX.ANNO.I. / G. C: — Castiglioni heraldic achievement Reverse: BAIOCCO / ROMANO / 1829 — Value and star within laurel wreath Date: 1829, Baiocco
Historical Note: Pius VIII’s reign lasted less than two years, making his coinage relatively
scarce.
His arms show a lion holding a castle — a heraldic pun on the family name *Castiglioni*.
The initials **G.C.** identify the engraver **Giuseppe Cerbara**, one of the most skilled members of the renowned
Cerbara family.
The fine “leaf‑edge” pattern was an anti‑counterfeiting measure typical of the high‑quality output of the Rome mint
in the early 19th century.
Gregory XVI (1831–1846) (Benedictine)
Gregory XVI’s heraldic achievement combines two traditions:
the **Camaldolese Order** (dexter side), represented by two doves drinking from a chalice,
and the **Cappellari family arms** (sinister side), traditionally showing a black cap, three stars on a silver fess,
and a dove with olive branch — though the dove does not appear on the papal version of the shield.
The tiara and keys complete the emblem of papal temporal authority.
Details
Pope
Image
Gregory XVI – 1 Quattrino (1835)
Mint: Rome
Obverse: GREGORIVS . XVI PONT . MAX . AN . V / R — Cappellari arms Reverse: QUATTRINO / 1835 — Value and date within wreath Date: 1835, Quattrino
Historical Note: A tiny copper denomination essential for the poorest classes.
The shield shows the Camaldolese emblem on the left, reflecting Gregory’s monastic origins.
The “R” confirms Rome minting during a period of austerity and rising revolutionary agitation.
Gregory XVI – 1 Baiocco (1835)
Mint: Rome
Obverse: GREGORIVS . XVI PONT . MAX . AN . V / R — Papal arms Reverse: BAIOCCO / 1835 — Value and date within wreath Date: 1835, Baiocco
Historical Note: A heavy copper “workhorse” coin of the Roman economy.
The crisp Neoclassical wreath reflects the Rome mint’s technical peak in the 1830s.
Despite growing Carbonari unrest, the tiara and keys remained a firm symbol of papal temporal authority.
Gregory XVI – 1/2 Baiocco (1836)
Mint: Rome
Obverse: GREGORIVS.XVI PONT.MAX.A.VI / R — Cappellari arms Reverse: MEZZO / BAIOCCO / 1836 — Value and date within wreath Date: 1836, Half Baiocco
Historical Note: The Camaldolese doves appear prominently on the left half of the shield.
The “R” mintmark confirms Rome.
These small copper pieces were vital for daily transactions in a period of tightening papal control.
Gregory XVI – 1/2 Baiocco (1836)
Mint: Bologna
Obverse: GREGORIVS.XVI PONT.MAX.A.VI / B — Papal arms Reverse: MEZZO / BAIOCCO / 1836 — Value and date within wreath Date: 1836, Half Baiocco
Historical Note: The Bologna mint supplied the Romagna region, a hotbed of Carbonari
revolutionary activity.
The “B” mintmark distinguishes this issue from the Roman type, though the design is otherwise identical.
Gregory XVI – 1/2 Baiocco (1837)
Mint: Bologna
Obverse: GREGORIVS.XVI PONT.MAX.A.VII / B — Papal arms Reverse: MEZZO / BAIOCCO / 1837 — Value and date within wreath Date: 1837, Half Baiocco
Historical Note: Issued in Year VII, this Bologna half baiocco reflects the steady copper
output that sustained the working‑class economy.
Despite political unrest, the mint maintained consistent quality and design.
Gregory XVI – 1 Baiocco (1837)
Mint: Bologna
Obverse: GREGORIVS . XVI PONT . MAX. A. VII / B — Cappellari arms Reverse: BAIOCCO / 1837 — Value and date within wreath Date: 1837, Baiocco
Historical Note: A Bologna‑minted baiocco from Year VII.
The Camaldolese doves remain central to the shield, reflecting Gregory’s monastic identity.
These copper coins were the backbone of everyday commerce in the Papal States during a decade of rising
revolutionary sentiment.
Gregory XVI – 5 Baiocchi (1839)
Mint: Rome
Obverse: GREGOR. XVI PON. M. AN. IX / R — Papal heraldic achievement Reverse: 5 / BAIOCCHI / 1839 — Large value and date within wreath Date: 1839, 5 Baiocchi
Historical Note: A substantial copper multiple often used in place of small silver during
bullion shortages.
The bold, simplified reverse ensured the high value was unmistakable, even for illiterate users.
Heavy circulation wear on surviving examples testifies to its importance in daily Roman commerce.
Gregory XVI – 1 Baiocco (1840)
Mint: Bologna
Obverse: GREGORIVS . XVI PONT . MAX. A. X / B — Papal heraldic achievement Reverse: BAIOCCO / 1840 — Value and date within wreath Date: 1840, Baiocco
Historical Note: A Bologna‑minted baiocco from Year X.
Despite rising Risorgimento pressure, the Papal mints continued producing traditional copper currency,
visually unchanged even as Europe entered the industrial age.
Gregory XVI – 5 Baiocchi (1842)
Mint: Bologna
Obverse: GREGORIVS.XVI PON.M.A.XII — Cappellari arms Reverse: 5 / BAIOCCHI / 1842 / B — Value, date, and mintmark in wreath Date: 1842, 5 Baiocchi
Historical Note: A large copper multiple from Year XII.
The Camaldolese doves appear clearly on the shield.
As silver was increasingly hoarded during political instability, these high‑value copper pieces became essential
for everyday transactions in the northern provinces.
Gregory XVI – 1 Quattrino (1843)
Mint: Rome
Obverse: GREGORIVS.XVI PONT.MAX.A.XIII / R — Papal arms Reverse: QUATTRINO / 1843 — Arched value and date in wreath Date: 1843, Quattrino
Historical Note: The smallest copper denomination of the period.
The arched inscription maximises legibility on the tiny flan.
Rome maintained high engraving standards even for its lowest‑value coins.
Gregory XVI – 1/2 Baiocco (1843)
Mint: Rome
Obverse: GREGORIVS.XVI PONT.MAX.A.XIII / R — Papal arms Reverse: MEZZO / BAIOCCO / 1843 — Value and date in wreath Date: 1843, Half Baiocco
Historical Note: Completing the 1843 Roman copper set, this half baiocco bridged the gap
between the tiny quattrino and the full baiocco.
Gregory XVI’s coinage remained visually conservative, a deliberate anchor of tradition as Europe moved rapidly
toward industrial modernity.
Gregory XVI – 5 Baiocchi (1844)
Mint: Rome
Obverse: GREGOR. XVI PON. M. A. XIV / R — Cappellari heraldic achievement Reverse: 5 / BAIOCCHI / 1844 — Bold value and date within wreath Date: 1844, 5 Baiocchi
Historical Note: Struck in Rome during the fourteenth year of Gregory XVI’s reign, this
substantial copper multiple reflects the pope’s deeply conservative monetary policy.
The Cappellari arms — with the Camaldolese doves — symbolise a papacy resistant to modern innovations such as
railways and gas lighting.
These large 5‑baiocchi pieces were valued for their reliability and clarity, serving as high‑value copper currency
in a period of mounting political and technological change.
Pius IX (1846–1878)
Pius IX’s heraldic shield is quartered — a form of marshalling that joins two coats of arms to honour ancestral lines,
a practice first seen in 13th‑century Spain.
His crest is the Papal triregnum, while the crossed keys and cords serve the visual role of mantling.
In 1866, the Papal States replaced the Scudo with the Lira at a rate of 1 Scudo = 5.357 Lire, aligning with the new Italian system.
Details
Pope
Image
Pius IX – 1 Baiocco (1846)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.ANN.I. / R — Mastai‑Ferretti quartered arms Reverse: BAIOCCO / 1846 — Value and date within wreath Date: 1846, Baiocco
Historical Note: A first‑year issue of the longest pontificate in history.
The quartered Mastai‑Ferretti arms — two rampant lions and two striped fields — symbolised a new, initially
“liberal” papacy.
The clean, modern copper design reflected hopes for administrative reform after the rigid conservatism of Gregory XVI.
Pius IX – 1 Baiocco (1848)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.ANN.III. / R — Papal arms Reverse: BAIOCCO / 1848 — Value and date within wreath Date: 1848, Baiocco
Historical Note: Struck during the revolutionary upheavals of 1848.
As Pius IX was pressured into granting a constitution, the Rome mint continued issuing traditional copper currency.
These coins circulated alongside emergency paper money and the short‑lived Roman Republic’s revolutionary issues.
Pius IX – 1/2 Baiocco (1849)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.IIII. / R — Papal arms Reverse: MEZZO / BAIOCCO / 1849 — Value and date within wreath Date: 1849, Half Baiocco
Historical Note: Although bearing Pius IX’s name, this coin was struck while he was in exile
at Gaeta.
The Rome mint, briefly under Republican control, continued using papal dies until revolutionary dies were prepared.
This piece sits on the boundary between papal authority and the Roman Republic of 1849.
Pius IX – 1/2 Baiocco (1850)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.V. / R — Mastai‑Ferretti arms Reverse: 1/2 / BAIOCCO / 1850 — Value and date within wreath Date: 1850, Half Baiocco
Historical Note: A restoration‑era issue following the fall of the Roman Republic.
These coins helped replace emergency paper and revolutionary coinage, signalling the re‑establishment of papal
authority and the return of the traditional Roman monetary system.
Pius IX – 1 Baiocco (1850)
Mint: Rome
Obverse: PIVS.IX.PONT MAX.ANNO.V. / R — Papal arms Reverse: 1 / BAIOCCO / 1850 — Value and date within wreath Date: 1850, Baiocco
Historical Note: The definitive “Restoration” copper unit.
The austere design reflects the Rome mint’s mid‑19th‑century emphasis on clarity and rapid production,
essential for stabilising an economy disrupted by revolution and siege.
Pius IX – 2 Baiocchi (1850)
Mint: Rome
Obverse: PIVS.IX.PON MAX.ANN.IV. / R — Papal heraldic achievement Reverse: 2 / BAIOCCHI / 1850 — Value and date within wreath Date: 1850, 2 Baiocchi
Historical Note: Struck in regnal year IV, likely early in 1850 — possibly before Pius IX
physically returned to Rome from exile.
As a larger copper denomination, the 2 Baiocchi bridged the gap between small change and silver.
The use of “ANN. IV” on an 1850 coin reflects the overlap between calendar years and the June anniversary of the
Pope’s election.
Pius IX – 20 Baiocchi (1850)
Mint: Rome
Obverse: PIVS.IX.PONT MAX.ANN.IV. — Bust of Pius IX left Reverse: 20 / BAIOCCHI / 1850 / R — Value and date within wreath Date: 1850, 20 Baiocchi (silver)
Historical Note: A key “Restoration” silver issue following the Pope’s return from Gaeta.
Unlike copper denominations, the silver coinage carried the papal portrait.
This denomination was crucial for purging the debased Republican silver (“Repubblica Romana”) that had flooded the
economy during 1849.
Pius IX – 2 Baiocchi (1851)
Mint: Rome
Obverse: PIVS.IX.PON. MAX.ANN.VI. / R — Mastai‑Ferretti arms Reverse: 2 / BAIOCCHI / 1851 — Value and date within wreath Date: 1851, 2 Baiocchi
Historical Note: Designed by **Niccolò Cerbara**, one of the finest engravers of the era.
The refined proportions of the Mastai‑Ferretti lions reflect Cerbara’s Neoclassical influence.
“ANN. VI” indicates minting after June 1851.
Pius IX – 5 Baiocchi (1851)
Mint: Rome
Obverse: PIVS.IX.PONT MAX.ANN.VI. / R — Papal arms Reverse: 5 / BAIOCCHI / 1851 — Value and date within wreath Date: 1851, 5 Baiocchi
Historical Note: The largest copper denomination of the Papal system.
Although some dies show ANN. VII, most 1851 issues correctly bear ANN. VI.
This heavy copper piece was essential for merchants, reducing reliance on fractional silver that required weighing.
Pius IX – 5 Baiocchi (1852)
Mint: Rome
Obverse: PIVS.IX.PONT MAX.ANN.VII. / R — Mastai‑Ferretti arms Reverse: 5 / BAIOCCHI / 1852 — Value and date within wreath Date: 1852, 5 Baiocchi
Historical Note: A robust post‑Restoration copper multiple from regnal year VII.
The Mastai‑Ferretti arms symbolised the Pope’s restored temporal authority after the fall of the Roman Republic.
The Rome mint maintained a high copper standard to reinforce public confidence in the currency.
Pius IX – 2 Baiocchi (1853)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.ANN.VII. / R — Papal heraldic achievement Reverse: 2 / BAIOCCHI / 1853 — Value and date within wreath Date: 1853, 2 Baiocchi
Historical Note: Designed by the master engraver **Niccolò Cerbara**, this issue reflects the
refined Neoclassical style that dominated the Rome mint in the 1850s.
By regnal year VII, the Papal administration had fully purged the revolutionary coinage of 1849, restoring the
traditional Roman Baiocco system in both weight and purity.
Pius IX – 5 Baiocchi (1858)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.XIII. / R — Papal heraldic achievement Reverse: 5 / BAIOCCHI / 1858 — Value and date within wreath Date: 1858, 5 Baiocchi (“New Type”)
Historical Note: This **“New Type”** 5 Baiocchi is smaller and more compact than the earlier
large module of 1851–1852.
The redesign reflects a broader European trend toward lighter, more convenient copper coinage.
One of the last major copper issues before the Papal States adopted the decimal Lira system in 1866.
Pius IX – 20 Baiocchi (1860)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.AN.XV / VOIGT — Bust of Pius IX left, wearing zucchetto Reverse: 20 / BAIOCCHI / 1860 / R — Value and date within wreath Date: 1860, 20 Baiocchi (silver)
Historical Note: Engraved by **Carl Friedrich Voigt**, this refined silver issue shows the
Pope wearing the **zucchetto**, the traditional white skullcap of the papacy.
Struck as the Papal States were being dismantled by the Risorgimento, this coin represents the last phase of
stable pre‑unification Papal silver.
Pius IX – 20 Baiocchi (1861)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.AN.XV / VOIGT — Bust of Pius IX left Reverse: 20 / BAIOCCHI / 1861 / R — Value and date within wreath Date: 1861, 20 Baiocchi (silver)
Historical Note: Struck in the same regnal year as the 1860 issue (ANN. XV).
By 1861, the Papal States were nearly surrounded by the newly proclaimed Kingdom of Italy.
Despite this, the Rome mint maintained high silver standards, ensuring Papal coinage remained trusted across the
peninsula.
Pius IX – 10 Baiocchi (1862)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.XVII. — Mastai‑Ferretti arms Reverse: 10 / BAIOCCHI / 1862 / R — Value and date within wreath Date: 1862, 10 Baiocchi (silver)
Historical Note: Entering regnal year XVII, this smaller silver denomination — the **Paolo** —
was the daily currency of Rome’s middle class.
The crisp wreath and sharp die work reflect the mint’s effort to compete with the new Italian Lira system, which
was rapidly becoming the dominant currency in unified Italy.
Pius IX – 10 Baiocchi (1863)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.XVIII. — Mastai‑Ferretti arms Reverse: 10 / BAIOCCHI / 1863 / R — Value and date within wreath Date: 1863, 10 Baiocchi (silver)
Historical Note: Struck in regnal year XVIII, this is one of the last high‑fineness
($0.900$) silver issues before the 1866 monetary reform.
As the Papal States contracted to Lazio, the Rome mint remained prolific, and the Mastai‑Ferretti arms served as a
visual assertion of the Pope’s sovereign authority.
Pius IX – 20 Baiocchi (1864)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.AN.XIX. / VOIGT — Bust of Pius IX left Reverse: 20 / BAIOCCHI / 1864 / R — Value and date within wreath Date: 1864, 20 Baiocchi (silver)
Historical Note: Voigt’s portrait engraving is at its most refined here.
By 1864, the Pope’s likeness on silver served as a political symbol of legitimacy in a rapidly modernising Italy.
The high‑pressure steam‑press striking gives this issue its crisp, modern appearance.
Pius IX – 20 Baiocchi (1865)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.AN.XX. / VOIGT — Bust of Pius IX left, wearing zucchetto Reverse: 20 / BAIOCCHI / 1865 / R — Value and date within wreath Date: 1865, 20 Baiocchi (silver)
Historical Note: The final year of the 20 Baiocchi denomination.
To align with the Latin Monetary Union, the silver fineness was reduced to $0.835$.
In 1866, this denomination would be replaced by the new decimal **1 Lira** as the Papal States modernised their currency system.
Pius IX – 1/2 Soldo (2.5 Centesimi) (1866)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI * 1866 * — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1/2 / SOLDO / R / 2.5.CENT. — Value in beaded circle Date: 1866, Half Soldo
Historical Note: This coin marks the birth of the **Papal Lira** system.
The shift from Baiocchi to Soldi was part of a sweeping modernisation intended to align Papal currency with the
French and Italian markets.
The Rome mint produced these in enormous quantities to replace obsolete copper denominations.
Pius IX – 1 Soldo (5 Centesimi) (1866, Medium Date)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1 / SOLDO / R / 5.CENTESIMI. — Value in beaded circle Date: 1866, 1 Soldo (Medium Date)
Historical Note: Designed by **Carl Friedrich Voigt**, this portrait is unusually detailed
for a copper coin.
By 1866, only Lazio remained under Papal control, and the inscription “STATO PONTIFICIO” was a deliberate political
assertion of sovereignty.
Pius IX – 1 Soldo (5 Centesimi) (1866, Large Date)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1 / SOLDO / R / 5.CENTESIMI. — Value in beaded circle Date: 1866, 1 Soldo (Large Date)
Historical Note: A distinct die variety with larger numerals, likely produced to meet the
enormous demand of the 1866 recoinage.
These Soldi dominated everyday commerce until the fall of Rome in 1870, after which the inscription “STATO
PONTIFICIO” became a relic of a vanished state.
Pius IX – 2 Soldi (10 Centesimi) (1866)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI — Bust of Pius IX left Reverse: STATO PONTIFICIO / 2 / SOLDI / R / 10.CENTESIMI. — Value in beaded circle Date: 1866, 2 Soldi
Historical Note: The mid‑range copper denomination of the new decimal system.
The inscription “STATO PONTIFICIO” was a bold political statement at a time when the Kingdom of Italy claimed
Rome as its destined capital.
The decimal “10 Centesimi” value allowed this coin to circulate interchangeably with Italian and French currency
of the Latin Monetary Union.
Pius IX – 4 Soldi (20 Centesimi) (1866)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI — Bust of Pius IX left Reverse: STATO PONTIFICIO / 4 / SOLDI / R / 20.CENTESIMI. — Value in beaded circle Date: 1866, 4 Soldi
Historical Note: The highest copper denomination of the 1866 reform.
Designed by **Carl Friedrich Voigt**, this 4 Soldi replaced the old 2 Baiocchi and was standardised at 20 Centesimi,
allowing it to circulate interchangeably with Italian and French 20‑cent pieces.
This was a strategic move to prevent capital flight from the shrinking Papal States.
Pius IX – 20 Baiocchi (1866)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.AN.XX / VOIGT — Bust of Pius IX left Reverse: 20 / BAIOCCHI / 1866 / R — Value and date within wreath Date: 1866, 20 Baiocchi (silver)
Historical Note: The final silver issue of the Baiocchi system.
Although the new Soldi were introduced in 1866, some older dies were still used early in the year.
Struck in $0.835$ silver — the same fineness as the new Lira — this coin represents the last breath of a
thousand‑year‑old monetary tradition that would be abolished within months.
Pius IX – 1 Lira (1866)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.XXI / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 1 LIRA / 1866 — Value within wreath Date: 1866, 1 Lira (silver)
Historical Note: The flagship coin of the 1866 reform.
By joining the **Latin Monetary Union**, the Papal Lira was aligned with the French Franc and Italian Lira at
$0.835$ silver.
The Papacy uniquely retained both **100 Centesimi** and **20 Soldi** subdivisions to ease the transition from the
ancient Scudo system.
Pius IX – 1/2 Soldo (2.5 Centesimi) (1867)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXII * 1867 * — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1/2 / SOLDO / R / 2.5.CENT. — Value in beaded circle Date: 1867, Half Soldo
Historical Note: The smallest copper unit of the decimal system.
Struck in regnal year XXII, these coins circulated in a Rome increasingly isolated and protected only by a
French garrison from the expanding Kingdom of Italy.
Pius IX – 1 Soldo (5 Centesimi) (1867)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXII / R — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1 / SOLDO / 5.CENT. / 1867 — Value and date Date: 1867, 1 Soldo
Historical Note: The Papal equivalent of the Italian 5 Centesimi.
Voigt’s portrait is crisp and dignified, even on copper.
Just three years later, the breach of Porta Pia (1870) would end the Pope’s temporal rule and make the Italian Lira
the sole currency of Rome.
Pius IX – 1 Soldo (5 Centesimi) (1867, Small Date)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXI — Bust of Pius IX left Reverse: STATO PONTIFICIO / 1 / SOLDO / R / 5.CENTESIMI. — Small‑date variety Date: 1867, 1 Soldo (Small Date)
Historical Note: A distinct die variety with smaller numerals placed farther from the beaded
border.
These “pennies” of the Papal economy bridged the gap between the old ecclesiastical system and the modern decimal
standards of the Latin Monetary Union.
Pius IX – 4 Soldi (20 Centesimi) (1867)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXII — Bust of Pius IX left Reverse: STATO PONTIFICIO / 4 / SOLDI / R / 20.CENTESIMI. — Value in beaded circle Date: 1867, 4 Soldi
Historical Note: By 1867, the 4 Soldi had become the standard high‑value copper coin of Rome.
Voigt’s portrait shows the aging Pius IX with near‑photographic realism.
Its exact equivalence to the Italian 20 Centesimi made it essential for cross‑border trade with the surrounding
Kingdom of Italy.
Pius IX – 5 Soldi (1867)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.A.XXII — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 5 / SOLDI / R — Value within wreath Date: 1867, 5 Soldi (silver)
Historical Note: The smallest silver denomination of the 1866 reform, equivalent to 25 Centesimi.
Struck in $0.835$ silver, these fractional pieces were difficult for the mint to regulate.
The Vatican was later accused by the Latin Monetary Union of over‑issuing them to help finance the Papal Army during
the Risorgimento.
Pius IX – 10 Soldi (50 Centesimi) (1867)
Mint: Rome — Off‑centre strike
Obverse: PIVS.IX.PON.MAX.A.XXII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 10 / SOLDI / 50 C.mi — Value and decimal equivalent within wreath Date: 1867, 10 Soldi (silver)
Historical Note: Struck in regnal year XXII, this 10 Soldi served as the Papal “half‑lira.”
Your specimen shows an **off‑centre obverse strike**, a sign of the intense pressure on the Rome mint during the
1866–67 flood of decimal coinage.
The explicit “50 C.mi” ensured compatibility with the French Franc and Italian Lira systems.
Pius IX – 1 Lira (1867)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.AN.XXII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 1 LIRA / 1867 — Value within wreath Date: 1867, 1 Lira (silver)
Historical Note: The foundational silver unit of the 1866 reform.
Struck to the $0.835$ fineness required by the Latin Monetary Union, it circulated at parity with the French 1‑Franc.
By 1867, these coins were central to the Papal Treasury’s attempt to maintain economic independence while politically
encircled by the Kingdom of Italy.
Pius IX – 2 Lire (1867)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.A.XXII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 2 LIRE / 1867 — Value within wreath Date: 1867, 2 Lire (silver)
Historical Note: A substantial 10‑gram silver piece at $0.835$ fineness.
The plural **Lire** is correctly used on the reverse.
This denomination represents the height of the Papal decimal system — just three years before the fall of Rome in 1870
ended the Pope’s temporal coinage forever.
Pius IX – 4 Soldi (20 Centesimi) (1868)
Mint: Rome
Obverse: PIVS.IX.PONT.MAX.ANN.XXII — Bust of Pius IX left Reverse: STATO PONTIFICIO / 4 / SOLDI / R / 20.CENTESIMI. — Value in beaded circle Date: 1868, 4 Soldi
Historical Note: The heavy copper workhorse of the decimal system.
Designed by **Carl Friedrich Voigt**, this denomination was essential for daily commerce when silver was too valuable
and smaller copper insufficient.
Despite political siege, the Rome mint maintained high technical standards in 1868.
Pius IX – 10 Soldi (50 Centesimi) (1868, Variety I)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.A.XXII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 10 / SOLDI / 50 C.mi — Value within wreath Date: 1868, 10 Soldi
Historical Note: One of several die varieties for 1868.
Differences often appear in letter spacing or wreath detail.
These coins circulated widely across Italy and France, representing the last stable years of Papal silver before the
collapse of temporal power.
Pius IX – 10 Soldi (50 Centesimi) (1868, AN XXIII)
Mint: Rome
Obverse: PIVS.IX.P.M.A.XXIII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 10 / SOLDI / 50 C.mi — Value within wreath Date: 1868, 10 Soldi (AN XXIII)
Historical Note: Entering regnal year XXIII, this issue was struck to the $0.835$ silver standard
required by the Latin Monetary Union.
The explicit “50 C.mi” ensured legal acceptance in Paris, Brussels, and Turin.
Pius IX – 10 Soldi (50 Centesimi) (1869)
Mint: Rome
Obverse: PIVS.IX.P.M.A.XXIII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 10 / SOLDI / 50 C.mi — Value within wreath Date: 1869, 10 Soldi
Historical Note: These 1869 issues were minted in large quantities as the Papacy attempted to
finance its defenses (notably the Papal Zouaves).
Over‑minting of small silver denominations eventually led to the Vatican’s suspension from the Latin Monetary Union’s
clearinghouse.
Pius IX – 10 Soldi (50 Centesimi) (1869, Variety II)
Mint: Rome
Obverse: PIVS.IX.PON.MAX.A.XXII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 10 / SOLDI / 50 C.mi — Value within wreath Date: 1869, 10 Soldi (Variety)
Historical Note: A second die variety for 1869, showing subtle differences in wreath detail and
letter spacing.
These late‑period issues circulated widely despite the Papal States being reduced to a tiny enclave around Rome.
Pius IX – 1 Lira (1869)
Mint: Rome
Obverse: PIVS.IX.PON.M.A.XXIII / R — Bust of Pius IX left Reverse: *STATO*PONTIFICIO* / 1 LIRA / 1869 — Value within wreath Date: 1869, 1 Lira (silver)
Historical Note: Struck during the First Vatican Council, this 1 Lira represents the final
stable year of Papal silver coinage.
The “Stato Pontificio” legend was under immense political pressure; within a year, the breach of Porta Pia (1870)
would end the Pope’s temporal rule and halt production of these silver Lira forever.
The Papal States were definitively dissolved in 1870 when Italian troops captured Rome and annexed its remaining territories.
This marked the end of the Pope's temporal power and the unification of Italy.
No coins were issued by a Pope until the formal recognition of the Vatican City in 1929 by the Lateran Treaty.
Obverse: PIVS XI PONT. MAX. A. IX — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1930 — St. Peter in a boat on the Sea of Galilee Date: 1930, 5 Lire (silver)
Historical Note: This 5 Lire piece is part of the first series issued by the modern Vatican City.
The reverse depicts the biblical scene of St. Peter in the storm, a powerful metaphor for the Papacy navigating the
political turbulence of the early 20th century. Struck in $0.835$ silver, it was intended to circulate at parity with
the Italian Lira under the new sovereign agreement.
Pius XI – 10 Lire (1930)
Mint: Rome
Obverse: PIVS XI PONT. MAX. A. IX / VOIGT — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS — Mary, Queen of Peace, enthroned Date: 1930, 10 Lire (silver)
Historical Note: Struck in regnal year 9 (A. IX).
The reverse features the “Regina Pacis” (Queen of Peace), a title added to the Litany of Loreto by Benedict XV during WWI.
This 10‑gram silver coin carries the edge inscription **P C I R C** (*Pacta Conventa Italiam Inter Et Romanam Cathedram*),
commemorating the Lateran Treaty between Italy and the Holy See.
Pius XI – 20 Centesimi (1931)
Mint: Rome — Holy Year Issue
Obverse: PIVS XI PONT. MAX. AN. XI — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.20 — Bust of St. Paul left Date: 1931, 20 Centesimi (nickel)
Historical Note: Issued for the Holy Year of 1931 (AN. XI), this nickel 20 Centesimi features the stern,
ascetic portrait of St. Paul — a deliberate contrast to the serene Marian themes of the silver denominations.
Millions of pilgrims entered Rome during the Jubilee, and these small‑value coins were struck in enormous quantities to meet
circulation needs. The modernist engraving style reflects the Vatican’s embrace of contemporary Italian medallic art.
Pius XI – 50 Centesimi (1931, Jubilee)
Mint: Rome — Nickel, Jubilee Issue
Obverse: PIVS XI PONT. MAX. AN. IVB — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.50 — Archangel St. Michael with sword Date: 1931, 50 Centesimi (nickel)
Historical Note: Struck for the 1931 Jubilee (AN. IVB), this 50 Centesimi is one of the most dramatic
designs of the early Vatican series.
The reverse shows **St. Michael the Archangel**, sword raised, symbolizing divine protection during a period of rising
totalitarian ideologies in Europe.
Nickel was chosen for durability and high‑circulation practicality, distinguishing these coins from the ceremonial silver
issues. The “IVB” date appears only on Holy Year coinage.
Pius XI – 5 Lire (1931)
Mint: Rome
Obverse: PIVS XI PONT. MAX. A. X — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1931 — St. Peter in a boat on the Sea of Galilee Date: 1931, 5 Lire (silver)
Historical Note: Entering the 10th year of his reign (A. X), Pius XI oversaw the expansion of the
Vatican’s new administrative presence.
The Mistruzzi–Motti collaboration on these silver issues is considered a high point of Italian Neoclassical numismatic art.
The 1931 strike maintains the same weight and fineness as the inaugural 1929–1930 issues, reflecting the Vatican’s commitment
to monetary stability within the Italian peninsula.
Pius XI – 10 Lire (1931)
Mint: Rome
Obverse: PIVS XI PONT. MAX. A. X / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1931 — Mary, Queen of Peace, enthroned Date: 1931, 10 Lire (silver)
Historical Note: Struck in Year 10 (A. X) of the pontificate, this silver 10 Lire continues the
celebrated “Regina Pacis” series.
The edge bears the incuse inscription **P C I R C**, commemorating the Lateran Treaty between the Italian State and the
Holy See.
These coins were produced at the Royal Mint in Rome to the same technical specifications as the contemporary Italian
10 Lire “Biga,” ensuring seamless circulation throughout Rome and the surrounding region.
Pius XI – 5 Centesimi (1932)
Mint: Rome
Obverse: PIVS XI P.M. AN. XI / 1932 — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.5 — Olive branch, value Date: 1932, 5 Centesimi
Historical Note: The 1932 5 Centesimi is part of the Vatican’s first fully modern small‑denomination series.
Its clean olive‑branch motif symbolizes peace and renewal following the Lateran Treaty of 1929.
These low‑value coins were essential for daily commerce within the newly sovereign Vatican City, especially as its postal
system, museums, and administrative offices expanded. The Ratti arms emphasize Pius XI’s scholarly identity and his role in
shaping the Vatican’s modern diplomatic presence.
Pius XI – 20 Centesimi (1932)
Mint: Rome
Obverse: PIVS XI PONT. MAX. A. XI / 1932 — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.20 — Bust of St. Paul left Date: 1932, 20 Centesimi
Historical Note: This 20 Centesimi piece features the Apostle Paul, rendered in a crisp, modern style.
By 1932 (A. XI), Vatican coinage had become a familiar part of Rome’s pilgrimage and tourism economy.
The collaboration between sculptor Aurelio Mistruzzi and engraver Attilio Motti produced a sharp, contemporary relief that
contrasted with the more ornate designs of the previous century.
Pius XI – 50 Centesimi (1932)
Mint: Rome
Obverse: PIVS XI PONT. MAX. A. XI / 1932 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / C.50 — Archangel St. Michael with sword Date: 1932, 50 Centesimi
Historical Note: The reverse depicts St. Michael the Archangel, protector of the Church, inspired by the
famous statue atop Castel Sant’Angelo.
This 50 Centesimi piece served as the primary medium‑value coin in daily transactions.
In 1932, the Vatican was celebrating its third year of full independence, and these coins acted as circulating symbols of
the new state’s identity within the Italian peninsula.
Pius XI – 1 Lira (1932)
Mint: Rome
Obverse: PIVS XI PONT. MAX. AN. XI — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / LIRA 1 / 1932 — Virgin Mary standing, rays behind Date: 1932, 1 Lira
Historical Note: The 1 Lira of 1932 features a serene, iconic depiction of the Virgin Mary.
Intended as the principal unit of daily commerce, it circulated widely within the Vatican and surrounding Rome.
By 1932, the Vatican’s minting program was fully established, demonstrating the vitality of the new sovereign state
created after the Lateran Treaty.
Pius XI – 10 Lire (1932)
Mint: Rome — Edge: P C I R C
Obverse: PIVS XI PONT. MAX. A. XI / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1932 — Mary, Queen of Peace, enthroned Date: 1932, 10 Lire
Historical Note: This 10 Lire is the final year of the “Regina Pacis” type before the Jubilee redesigns.
The edge inscription **P C I R C** commemorates the Lateran Treaty between Italy and the Holy See.
It remains one of the most elegant Vatican issues of the inter‑war period, blending traditional religious symbolism with
the modern artistic standards of the Rome mint.
Pius XI – 20 Centesimi (1933/1934)
Mint: Rome — Holy Year Issue
Obverse: PIVS XI PONT. MAX. AN. XI / 1933 1934 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / C.20 — Bust of St. Paul left Date: 1933–1934, 20 Centesimi
Historical Note: This special issue marks the Holy Year of 1933/34, an extraordinary Jubilee declared
by Pius XI. The dual date reflects the full Jubilee period. St. Paul’s portrait emphasizes the Vatican’s apostolic
foundations. These pieces were widely collected by pilgrims visiting Rome for the opening of the Holy Door, becoming
enduring mementos of the “Pope of the Treaties.”
Pius XI – 50 Centesimi (1933/1934, Holy Year)
Mint: Rome — Jubilee Issue
Obverse: PIVS XI PONT. MAX. AN. IVB — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.50 / 1933–1934 — Archangel St. Michael with sword Date: 1933–1934, 50 Centesimi
Historical Note: Issued for the Extraordinary Jubilee of the Redemption.
The “AN. IVB.” inscription marks it as a dedicated Holy Year strike.
The reverse retains the dramatic image of St. Michael the Archangel, while the dual date distinguishes it as a
commemorative variety within the Vatican’s circulating series.
Pius XI – 1 Lira (1933/1934, Holy Year)
Mint: Rome — Jubilee Issue
Obverse: PIVS XI PONT. MAX. AN. IVB / 1933 1934 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / LIRA 1 — Virgin Mary standing, rays behind Date: 1933–1934, 1 Lira
Historical Note: The Jubilee 1 Lira features a radiant depiction of the Virgin Mary.
The dual date and “AN. IVB.” inscription identify it as a Holy Year issue.
These pieces were produced in smaller quantities than standard years and served as official souvenirs for pilgrims
commemorating the 1900th anniversary of the Crucifixion.
Pius XI – 2 Lire (1933/1934, Holy Year)
Mint: Rome — Jubilee Issue
Obverse: PIVS XI PONT. MAX. AN. IVB — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.2 — The Good Shepherd, Jesus carrying a lamb Date: 1933–1934, 2 Lire
Historical Note: The 2 Lire features the ancient Christian motif of the Good Shepherd, one of the earliest
symbols of Christ.
Issued for the Jubilee of the Redemption, this piece became one of the most admired Vatican designs of the era, with
Mistruzzi’s relief work giving it exceptional visual depth.
Pius XI – 10 Lire (1933/1934, Holy Year)
Mint: Rome — Jubilee Issue
Obverse: PIVS XI PONT. MAX. A. IVB / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1933–1934 — Mary, Queen of Peace Date: 1933–1934, 10 Lire
Historical Note: Issued for the Extraordinary Jubilee of the Redemption.
While retaining the classic “Regina Pacis” reverse, the dual date and “A. IVB.” inscription distinguish it as a Holy Year
commemorative.
The edge continues to bear the **P C I R C** inscription, recalling the Lateran Treaty that made Vatican coinage possible.
Pius XI – 10 Centesimi (1934)
Mint: Rome
Obverse: PIVS XI PONT. MAX. AN. XIII — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.10 / 1934 — Bust of St. Peter right, value Date: 1934, 10 Centesimi
Historical Note: This 10 Centesimi issue features a dignified portrait of St. Peter, reflecting the
Vatican’s emphasis on apostolic continuity during the inter‑war period.
The 1934 strike is part of the final phase of Pius XI’s small‑denomination series before the artistic redesigns of the
later 1930s.
Pius XI – 50 Centesimi (1934)
Mint: Rome — Standard Issue
Obverse: PIVS XI PONT. MAX. AN. XIII — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.50 / 1934 — Archangel St. Michael with sword Date: 1934, 50 Centesimi
Historical Note: Unlike the Jubilee issues, this coin marks the 13th year of Pius XI’s reign (AN. XIII).
The return to the standard regnal year reflects the Vatican mint’s transition back to normal production after the fervor of
the Holy Year.
The powerful image of St. Michael — rendered by Aurelio Mistruzzi — embodies the Church Militant, a theme widely embraced in
1930s ecclesiastical art.
Pius XI – 1 Lira (1934)
Mint: Rome — Standard Issue
Obverse: PIVS XI PONT. MAX. AN. XIII / 1934 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / LIRA 1 — Virgin Mary standing, rays behind Date: 1934, 1 Lira
Historical Note: This standard 1934 1 Lira marks the Vatican’s return to regular production following the
Jubilee period.
The reverse features the Virgin Mary — not St. Michael — continuing the iconography of the earlier 1932 issue.
Struck in Year 13 (AN. XIII), it ensured a steady supply of small‑value currency for Romans and pilgrims as the mid‑1930s
economic climate began to shift.
Pius XI – 5 Lire (1934)
Mint: Rome — Engraver: A. Motti — Designer: A. Mistruzzi
Obverse: PIVS XI PONT. MAX. A. XIII — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1934 — St. Peter in a boat during a storm Date: 1934, 5 Lire
Historical Note: Struck in Year 13 (A. XIII).
The dramatic reverse of St. Peter navigating the storm was especially resonant in 1934 as political tensions rose across
Europe.
This issue continued the Vatican’s commitment to high‑quality engraving, with Mistruzzi’s waves and drapery among the most
refined of the early Vatican series.
Pius XI – 10 Lire (1934)
Mint: Rome — Edge: P C I R C
Obverse: PIVS XI PONT. MAX. A. XIII / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1934 — Mary, Queen of Peace Date: 1934, 10 Lire
Historical Note: The “Regina Pacis” design is one of Mistruzzi’s most celebrated works.
The edge inscription **P C I R C** recalls the Lateran Treaty of 1929.
In 1934, this high‑value issue symbolized the Vatican’s growing confidence as an independent financial and diplomatic entity
in the inter‑war period.
Pius XI – 5 Lire (1935)
Mint: Rome — Engraver: A. Motti — Designer: A. Mistruzzi
Obverse: PIVS XI PONT. MAX. A. XIV — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1935 — St. Peter in a storm‑tossed boat Date: 1935, 5 Lire
Historical Note: Struck in Year 14 (A. XIV), this issue represents the mature phase of the Vatican’s
first decimal series.
Although the design matches earlier years, the 1935 strike is historically significant as one of the last “normal” issues
before the economic and political upheavals of the late 1930s.
The detailed waves around St. Peter’s boat highlight the exceptional technical standards of the Rome mint.
Pius XI – 10 Lire (1935)
Mint: Rome — Edge: P C I R C
Obverse: PIVS XI PONT. MAX. A. XIV / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1935 — Mary, Queen of Peace Date: 1935, 10 Lire
Historical Note: While this coin circulated, Pius XI was reorganizing the Pontifical Academy of Sciences.
He insisted it be “scientific and only scientific,” inviting world‑renowned researchers — including non‑Catholics — to ensure
the Vatican remained a voice of reason during an increasingly unstable political era.
The “Regina Pacis” reverse remained a symbol of the Pope’s hope for peace in a turbulent decade.
Pius XI – 10 Centesimi (1936)
Mint: Rome — Engraver: A. Motti
Obverse: PIVS XI P. M. AN. XV — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / C.10 / 1936 — St. Peter in a boat (Miraculous Draught of Fishes) Date: 1936, 10 Centesimi
Historical Note:1936 – The Warning Voices:
As this coin was struck, Pius XI was preparing the encyclical *Mit brennender Sorge*, later smuggled into Germany and read
from every Catholic pulpit.
1936 was a year of mounting tension as the Vatican attempted to defend Catholic institutions against the rising tide of
European totalitarianism.
Pius XI – 2 Lire (1936)
Mint: Rome — Designer: A. Mistruzzi
Obverse: PIVS XI PONT. MAX. AN. XVI — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.2 — The Good Shepherd carrying a lamb Date: 1936, 2 Lire
Historical Note:1937 – The Shepherd’s Health:
Although dated 1936, this type circulated heavily during 1937, a year marked by Pius XI’s declining health.
The “Good Shepherd” imagery took on added meaning as the Pope, increasingly confined to the Apostolic Palace, continued to
guide the Church through the political storms of the late 1930s.
Pius XI – 5 Centesimi (1937)
Mint: Rome — Engraver: A. Motti
Obverse: PIVS XI P. M. AN. XVI — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / C.5 / 1937 — St. Peter in a boat (Fisher of Men) Date: 1937, 5 Centesimi
Historical Note:1937 – Modern Media:
This year saw major expansion of Vatican Radio.
Pius XI, a strong supporter of modern technology, oversaw the installation of new shortwave transmitters designed by
Guglielmo Marconi.
These 5 Centesimi pieces would have been common pocket change for the engineers and technicians who helped broadcast the
Pope’s voice across continents.
Pius XI – 10 Centesimi (1937)
Mint: Rome — Engraver: A. Motti
Obverse: PIVS XI P. M. AN. XVI — Papal heraldic achievement (Ratti Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.10 / 1937 — St. Peter in a boat (Miraculous Draught of Fishes) Date: 1937, 10 Centesimi
Historical Note:1937 – Confronting Extremism:
This coin was struck the same year Pius XI issued three major encyclicals in one month, including *Mit brennender Sorge*,
condemning Nazi ideology.
Despite failing health, the Pope used every available platform — including the symbolism of Vatican currency — to assert the
Church’s independence against totalitarian regimes.
Pius XI – 2 Lire (1937)
Mint: Rome — Designer: A. Mistruzzi
Obverse: PIVS XI PONT. MAX. AN. XVI — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.2 — The Good Shepherd carrying a lamb Date: 1937, 2 Lire
Historical Note:1937 – The Shepherd’s Health:
The Good Shepherd motif was especially poignant in 1937 as Pius XI’s health deteriorated.
Though physically weakened, he continued to guide the Church through the political and economic turmoil of the late 1930s,
making this coin a symbolic reminder of his pastoral mission.
Pius XI – 10 Lire (1937)
Mint: Rome — Edge: P C I R C
Obverse: PIVS XI PONT. MAX. A. XVI / MISTRVZZI — Bust of Pius XI left Reverse: STATO DELLA CITTA' DEL VATICANO / L.10 / REGINA PACIS / 1937 — Mary, Queen of Peace Date: 1937, 10 Lire
Historical Note:1937 – Building for Posterity:
While this coin was being struck, Pius XI was completing major modernization projects inside Vatican City, including the
new Governor’s Palace and expanded telecommunications infrastructure.
These improvements — funded by the Vatican’s financial independence — helped transform the tiny state into one of the most
technologically advanced enclaves of its time.
Sede Vacante 1939 (Cardinal Eugenio Pacelli)
Details
Pope / Camerlengo
Image
Sede Vacante – 5 Lire (1939)
Obverse:
SEDE VACANTE MCMXXXIX —
Arms of Cardinal Eugenio Pacelli (Camerlengo), surmounted by the Ombrellino and Crossed Keys
Reverse:
STATO DELLA CITTÀ DEL VATICANO / L.5 / INFVNDE AMOREM CORDIBVS —
The Holy Spirit as a Dove emitting rays of light
Historical Note: 1939 – The Empty Throne:
Following the death of Pius XI in February 1939, the Vatican entered Interregnum.
This 5 Lire was struck under Cardinal Pacelli as Camerlengo.
The reverse plea “INFVNDE AMOREM CORDIBVS” (“Infuse love into our hearts”)
reflected hopes for peace as Europe approached war.
Weeks later, Pacelli himself was elected Pope Pius XII.
The coat of arms of Pius XII (Eugenio Maria Giuseppe Giovanni Pacelli) features a dove of peace
perched on a trimount above stylized waves — a simple and elegant heraldic device reflecting his
diplomatic background and lifelong emphasis on peace and mediation.
Details
Pope
Image
Pius XII – 20 Centesimi (1939)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO I — Papal heraldic achievement (Pacelli Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.20 / 1939 — Bust of St. Paul left Date: 1939, 20 Centesimi
Historical Note:1939 – A New Shepherd:
Following one of the shortest conclaves in history, Eugenio Pacelli was elected Pope on his 63rd birthday.
These 20 Centesimi pieces were among the first to bear his name.
The transition from the Sede Vacante coinage to this regular issue occurred within months as the Vatican moved quickly to
establish the visual authority of the new pontificate.
Pius XII – 5 Lire (1939)
Mint: Rome — Edge: OPVS IVSTITIAE PAX
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO I — Bust of Pius XII left Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1939 — Standing figure of Justice with scales Date: 1939, 5 Lire
Historical Note:1939 – The Plea for Peace:
This 5 Lire bears the edge inscription “OPVS IVSTITIAE PAX” (“Peace is the work of Justice”), the personal motto of Pius XII.
In August 1939, as these coins entered circulation, the Pope delivered his famous radio appeal:
“Nothing is lost with peace; everything may be lost with war.”
The coin stands as a numismatic testament to the Vatican’s urgent but unsuccessful efforts to prevent the outbreak of the
Second World War.
Pius XII – 20 Centesimi (1940)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO II / 1940 — Papal heraldic achievement (Pacelli Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.20 — Bust of St. Paul left Date: 1940, 20 Centesimi
Historical Note:1940 – The Move to Steel:
As Italy entered World War II in June 1940, strategic materials became scarce.
This 20 Centesimi issue reflects the Vatican’s adaptation to wartime conditions while maintaining its symbolic sovereignty.
Despite the turmoil surrounding Rome, the familiar image of St. Paul continued to circulate in the pockets of citizens living
within a nation at war.
Pius XII – 1 Lira (1940)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS A. II / 1940 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.1 — Virgin Mary standing on globe and crescent moon Date: 1940, 1 Lira
Historical Note:1940 – Rome Under Shadow:
The obverse displays the Pacelli family dove, symbolizing peace during a year when Europe was engulfed in conflict.
Pius XII worked urgently behind the scenes to have Rome declared an “Open City,” hoping to spare it from bombardment.
The Marian reverse served as a traditional appeal for divine protection during a year marked by the Fall of France and the
beginning of the Blitz.
Pius XII – 5 Lire (1940)
Mint: Rome — Edge: OPVS IVSTITIAE PAX
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO II / MISTRVZZI — Bust of Pius XII left Reverse: STATO DELLA CITTA' DEL VATICANO / L.5 / 1940 — Standing figure of Justice with scales Date: 1940, 5 Lire
Historical Note:1940 – The Work of Justice:
The edge inscription “OPVS IVSTITIAE PAX” (“Peace is the work of Justice”) reflects Pius XII’s personal motto.
In his 1940 Christmas message, the Pope outlined his “Five Peace Points,” offering a vision for a just world order even as
the war expanded into a global conflict.
This coin circulated as a symbolic reminder of the Vatican’s moral stance during the darkest early years of World War II.
Pius XII – 50 Centesimi (1941)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS A. III / 1941 — Papal heraldic achievement (Pacelli Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / C.50 — Archangel St. Michael with sword Date: 1941, 50 Centesimi
Historical Note:1941 – The Protector of Rome:
Struck in Year 3 (A. III) of the pontificate.
As wartime pressures increased, the Vatican continued issuing small‑denomination coinage to maintain daily commerce within
the tiny sovereign state.
The image of St. Michael — traditional defender of the Church — carried special resonance in 1941 as the Vatican struggled
to maintain neutrality while surrounded by Axis‑controlled territory.
Pius XII – 1 Lira (1941)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS A. III / 1941 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.1 — Virgin Mary standing on globe and crescent moon Date: 1941, 1 Lira
Historical Note:1941 – Diplomacy in Shadows:
During 1941, Pius XII intensified efforts to aid refugees and prisoners of war through Vatican diplomatic channels.
This 1 Lira coin, though modest in appearance, represented the sovereign authority that enabled the Vatican to operate its
own postal and courier systems — essential tools for humanitarian work as the war expanded into Eastern Europe and Russia.
Pius XII – 2 Lire (1941)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS A. III / 1941 — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / L.2 — The Good Shepherd carrying a lamb Date: 1941, 2 Lire
Historical Note:1941 – The Good Shepherd’s Plea:
The Good Shepherd motif emphasized the Pope’s pastoral role during a year of escalating global conflict.
In his 1941 Christmas address, Pius XII spoke of a “New Order” grounded in moral principles rather than force.
This 2 Lire piece — the highest denomination of the wartime steel issues — circulated widely as a reminder of the
Vatican’s spiritual message amid the turmoil of World War II.
Pius XII – 50 Centesimi (1942)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO IV — Papal heraldic achievement (Pacelli Arms) Reverse: STATO DELLA CITTA' DEL VATICANO / IVSTITIA / 1942 — Justice seated holding the Tablets of the Law Date: 1942, 50 Centesimi
Historical Note:1942 – The Silver Jubilee:
1942 marked the 25th anniversary of Pius XII’s episcopal consecration.
As the world was engulfed in war, the Vatican used this redesigned 50 Centesimi to promote the principle of
IVSTITIA (Justice) as the only foundation for lasting peace.
The new design by Aurelio Mistruzzi replaced the earlier St. Michael motif, signaling a shift toward moral symbolism
during a year of global crisis.
Pius XII – 1 Lira (1942)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO IV — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / IVSTITIA / 1942 — Justice seated with Tablets of the Law Date: 1942, 1 Lira
Historical Note:1942 – The Voice in the Dark:
During his 1942 Christmas broadcast, Pius XII condemned the persecution of peoples based on race or nationality.
This 1 Lira coin circulated at the same time the Vatican was sheltering thousands of refugees within its extraterritorial
buildings.
The Tablets of the Law in Justice’s hand symbolized the divine moral order the Pope insisted must prevail over the
destructive ideologies of wartime Europe.
Pius XII – 2 Lire (1942)
Mint: Rome
Obverse: PIVS XII PONTIFEX MAXIMVS ANNO IV — Papal heraldic achievement Reverse: STATO DELLA CITTA' DEL VATICANO / IVSTITIA / 1942 — Justice seated holding scales and a book Date: 1942, 2 Lire
Historical Note:1942 – The Defensive Fortress:
By 1942, the Vatican was a tiny island of neutrality surrounded by Fascist Italy.
The 2 Lire — the largest of the wartime steel denominations — served as a practical reminder of Vatican sovereignty.
The scales of Justice on the reverse symbolized the moral balance the Pope argued must be restored in a world dominated
by force, occupation, and the collapse of international law.
Pius XII – 2 Lire (1950, Holy Year)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. IVB. MCML — Bust of Pope Pius XII right Reverse: STATO DELLA CITTA' DEL VATICANO / IANVA COELI / L.2 — Flying dove with olive branch;
St. Peter's Basilica in background Date: 1950, 2 Lire (Holy Year)
Historical Note:1950 – The Gate of Heaven:
Struck for the first post‑war Jubilee.
The reverse legend “IANVA COELI” (“Gate of Heaven”) refers to the Virgin Mary and the opening of the Holy Door.
After the trauma of World War II, the 1950 Holy Year re‑established Rome as the spiritual center of the West.
The lightweight alloy reflects the shift toward modern post‑war coinage as millions of pilgrims returned to the Vatican.
Pius XII – 5 Lire (1950, Holy Year)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. IVB. MCML — Bust of Pope Pius XII right Reverse: STATO DELLA CITTA' DEL VATICANO / IANVA COELI / L.5 — The Pope kneeling before the Open Holy Door Date: 1950, 5 Lire (Holy Year)
Historical Note:1950 – Opening the Door:
This coin depicts the central ritual of the Jubilee: the Pope opening the Holy Door at St. Peter’s Basilica.
1950 also saw Pius XII define the dogma of the Assumption of Mary.
In a BBC broadcast, the Jubilee was described as a “year of great return,” as pilgrims sought moral stability in the early
Cold War era.
The 5 Lire became one of the most widely handled coins of the Holy Year.
Pius XII – 10 Lire (1950, Holy Year)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. IVB. MCML — Bust of Pope Pius XII right Reverse: STATO DELLA CITTA' DEL VATICANO / IANVA COELI / L.10 — The Pope kneeling before the Open Holy Door Date: 1950, 10 Lire (Holy Year)
Historical Note:1950 – The Pilgrim’s Currency:
The 10 Lire was the largest of the aluminum Jubilee coins and the most practical denomination for pilgrims visiting the
Vatican Museums and shops.
Its design mirrors the 5 Lire but on a larger module, making the Holy Door scene more prominent.
This coin marks the Vatican’s reopening to the world after a decade of war, rationing, and isolation.
Pius XII – 2 Lire (1951)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. A. XIII / GIAMPAOLI — Papal heraldic achievement (Pacelli Arms) Reverse: CITTA' DEL VATICANO / L.2 / 1951 / FORTITVDO — Allegory of Fortitude standing with a mace; lion at feet Date: 1951, 2 Lire
Historical Note:1951 – The Virtue of Fortitude:
Struck in Year 13 (A. XIII).
As the Cold War intensified, the Vatican’s choice of Fortitudo symbolized the spiritual strength needed to face an
uncertain global future.
The lion and mace reinforced the message of moral courage, echoed in Pius XII’s radio broadcasts urging Europe to maintain
its resolve amid ideological division.
Pius XII – 5 Lire (1951)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XIII / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / 1951 / L.5 / IVSTITIA — Allegory of Justice standing with sword and scales Date: 1951, 5 Lire
Historical Note:1951 – Seeking Justice:
1951 saw the creation of the European Coal and Steel Community, the first step toward modern European integration.
The Vatican emphasized that any new European order must rest on Justice, symbolized by the sword and scales.
This coin circulated widely during Italy’s rapid post‑war reconstruction, reinforcing the moral dimension of political unity.
Pius XII – 10 Lire (1951)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XIII / GIAMPAOLI — Bust of Pius XII right Reverse: CITTA' DEL VATICANO / 1951 / L.10 / PRVDENTIA — Allegory of Prudence holding a mirror and serpent Date: 1951, 10 Lire
Historical Note:1951 – Wise Counsel:
The allegory of Prudentia — with her mirror symbolizing self‑knowledge — reflected Pius XII’s call for careful,
morally grounded decision‑making in global affairs.
In 1951 he addressed the World Movement for Federal Government, urging a prudent approach to international cooperation.
This 10 Lire, the largest of the circulating aluminum issues, served as a daily reminder of the need for wisdom in public life.
Pius XII – 1 Lira (1952)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. ANNO XIV / GIAMPAOLI — Papal heraldic achievement (Pacelli Arms) Reverse: CITTA' DEL VATICANO / L.1 / 1952 / TEMPERANTIA — Allegory of Temperance pouring liquid between two vessels Date: 1952, 1 Lira
Historical Note:1952 – The Virtue of Temperance:
Struck in Year 14 (A. XIV).
In 1952, Pius XII addressed the First International Congress on the Histopathology of the Nervous System, speaking on the
moral limits of scientific research.
The allegory of Temperantia — diluting wine with water — symbolized moderation and restraint in an age of rapid
scientific and social change.
Pius XII – 2 Lire (1952)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. A. XIV / GIAMPAOLI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.2 / 1952 / FORTITVDO — Allegory of Fortitude with mace; lion at feet Date: 1952, 2 Lire
Historical Note:1952 – Spiritual Resolve:
The “Virtues” series continued with Fortitudo, symbolizing courage and steadfastness.
In 1952, Pius XII issued *Exsul Familia*, the Church’s first comprehensive document on migrants and refugees — a stance
requiring the very fortitude depicted on this coin.
The lion at the figure’s feet reinforced the message of moral strength in a turbulent post‑war world.
Pius XII – 5 Lire (1952)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XIV / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / 1952 / L.5 / IVSTITIA — Allegory of Justice with sword and scales Date: 1952, 5 Lire
Historical Note:1952 – Justice and Peace:
In 1952, the Vatican coordinated major relief efforts following catastrophic flooding in the Po Valley.
The 5 Lire “Ivstitia” emphasized that social justice and charity were essential duties of the state — even a state as small
as the Vatican — during times of national hardship.
The sword and scales symbolized the balance between mercy and order.
Pius XII – 10 Lire (1952)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XIV / GIAMPAOLI — Bust of Pius XII right Reverse: CITTA' DEL VATICANO / 1952 / L.10 / PRVDENTIA — Allegory of Prudence with mirror and serpent Date: 1952, 10 Lire
Historical Note:1952 – The Mirror of Prudence:
In 1952, Pius XII delivered several major addresses on the “Christian Conscience,” emphasizing the virtue of Prudentia
— the disciplined use of reason.
The mirror symbolizes self‑knowledge, while the serpent recalls Christ’s admonition to be “wise as serpents.”
This 10 Lire served as the practical, everyday currency of the Vatican during the early 1950s, bridging small change and
larger commemorative issues.
Pius XII – 1 Lira (1953)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. ANNO XV / GIAMPAOLI — Papal heraldic achievement (Pacelli Arms) Reverse: CITTA' DEL VATICANO / L.1 / 1953 / TEMPERANTIA — Allegory of Temperance pouring liquid between two vessels Date: 1953, 1 Lira
Historical Note:1953 – The Call for Moderation:
Struck in Year 15 (A. XV).
In 1953, Pius XII frequently addressed the “Seven Virtues,” urging moderation as Italy entered its post‑war economic boom.
The allegory of Temperantia symbolized the Church’s call for balance during a period of rapid social and economic change.
These lightweight Italma coins circulated widely among pilgrims and tourists as Rome’s economy accelerated.
Pius XII – 2 Lire (1953)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. AN. XV / GIAMPAOLI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.2 / 1953 / FORTITVDO — Allegory of Fortitude with mace and lion Date: 1953, 2 Lire
Historical Note:1953 – A Fortress of Faith:
1953 saw the death of Stalin and a dramatic shift in Cold War tensions.
The Vatican’s Fortitudo design — with its lion symbolizing courage — was widely interpreted as a statement of spiritual
resilience against totalitarianism.
This 2 Lire piece circulated at a moment when Pius XII was one of the most outspoken global critics of Soviet expansion.
Pius XII – 5 Lire (1953)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XV / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / 1953 / L.5 / IVSTITIA — Allegory of Justice with sword and scales Date: 1953, 5 Lire
Historical Note:1953 – Justice for the Family:
In 1953, Pius XII delivered influential speeches on family rights and the ethics of emerging genetic science.
The Ivstitia design reflected the Vatican’s insistence that European legal systems uphold human dignity.
This was the penultimate year of the Virtues series before the Marian Year coinage of 1954 took precedence.
Pius XII – 10 Lire (1953)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XV / GIAMPAOLI — Bust of Pius XII right Reverse: CITTA' DEL VATICANO / 1953 / L.10 / PRVDENTIA — Allegory of Prudence with mirror and serpent Date: 1953, 10 Lire
Historical Note:1953 – The Wisdom of Diplomacy:
Struck in Year 15 (A. XV).
In 1953, Pius XII created 24 new Cardinals, dramatically expanding the international character of the Curia.
The allegory of Prudentia — with her mirror of self‑reflection — symbolized the careful diplomacy required as the
Cold War entered a new phase after Stalin’s death.
Pius XII – 100 Lire (1956)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XVIII / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / L.100 / 1956 / FIDES — Fides standing, holding a cross and chalice Date: 1956, 100 Lire
Historical Note:1956 – The Fortress of Faith:
1956 was marked by the Hungarian Uprising and the Suez Crisis.
Pius XII issued *Luctuosissimi Eventus*, calling for global prayer and peace.
The depiction of Fides (Faith) — with cross and chalice — symbolized the Vatican’s role as a moral anchor during one of
the most volatile years of the 20th century.
Pius XII – 1 Lira (1957)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. ANNO XIX / GIAMPAOLI — Papal heraldic achievement (Pacelli Arms) Reverse: CITTA' DEL VATICANO / L.1 / 1957 / TEMPERANTIA — Allegory of Temperance pouring liquid between two vessels Date: 1957, 1 Lira
Historical Note:1957 – The Ethics of Progress:
Struck in Year 19 (A. XIX).
In 1957, Pius XII issued *Miranda Prorsus*, his landmark encyclical on radio, television, and film.
The allegory of Temperantia served as a reminder that these powerful new media required moderation, discipline,
and moral discernment during a decade of rapid cultural change.
Pius XII – 2 Lire (1957)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII PONT. MAX. AN. XIX / GIAMPAOLI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.2 / 1957 / FORTITVDO — Allegory of Fortitude with mace and lion Date: 1957, 2 Lire
Historical Note:1957 – Spiritual Resolve:
Struck in Year 19.
As the Cold War stalemate continued, the Vatican emphasized Fortitudo — moral courage — as Europe moved toward
deeper integration with the signing of the Treaty of Rome.
The lion and mace symbolized the diplomatic strength required to support unity without compromising spiritual principles.
Pius XII – 100 Lire (1957)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XIX / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / L.100 / 1957 / FIDES — Fides standing, holding a cross and chalice Date: 1957, 100 Lire
Historical Note:1957 – Faith in the Atomic Age:
In 1957, Pius XII delivered major addresses on the peaceful use of nuclear energy.
The allegory of Fides emphasized that scientific progress must be guided by faith and ethical responsibility.
This high‑value coin matched the size and weight of contemporary Italian issues, reflecting the Vatican’s modernization
of its circulating currency.
Pius XII – 100 Lire (1958)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PIVS XII P.M. AN. XX / GIAMPAOLI — Bust of Pius XII left Reverse: CITTA' DEL VATICANO / L.100 / 1958 / FIDES — Fides standing, holding a cross and chalice Date: 1958, 100 Lire
Historical Note:1958 – The Final Year:
Struck in Year 20 (A. XX), the last year of Pius XII’s long pontificate.
The allegory of Fides — with cross and chalice — served as a final numismatic testament to a Pope whose reign was
defined by theological clarity and moral defense of the Church during the upheavals of the mid‑20th century.
After his death in October 1958, these coins were followed by the rare *Sede Vacante* issues.
Sede Vacante 1958 (Cardinal Benedetto Aloisi Masella)
Following the death of Pope Pius XII in October 1958, the Camerlengo, Cardinal Benedetto Aloisi Masella,
assumed temporary governance of the Holy See. His coat of arms, surmounted by the Ombrellino and Crossed Keys,
symbolized the authority of the Apostolic Chamber during the vacancy of the papal throne.
Details
Pope
Image
Sede Vacante – 500 Lire (1958)
Mint: Rome — Engraver: P. Giampaoli
Obverse: SEDE VACANTE MCMLVIII — Arms of Cardinal Benedetto Aloisi Masella beneath the Ombrellino and Crossed Keys Reverse: STATO DELLA CITTA' DEL VATICANO / L.500 / VENI SANCTE SPIRITVS — Holy Spirit as a Dove emitting rays Date: 1958, 500 Lire (Sede Vacante)
Historical Note:1958 – The First 500 Lire of an Interregnum:
Issued after the death of Pius XII, this was the first 500 Lire coin ever struck for a Sede Vacante.
It bore the arms of Camerlengo Masella, who oversaw the temporal administration of the Holy See during the vacancy.
The reverse invocation “VENI SANCTE SPIRITVS” (“Come, Holy Spirit”) was a direct appeal for divine guidance as the
Cardinals prepared to enter the Conclave — a Conclave that would unexpectedly elect Angelo Roncalli as Pope John XXIII.
John XXIII (1958–1963)
The coat of arms of John XXIII (Angelo Giuseppe Roncalli) consists of a silver chief bearing the symbol of Venice —
the winged and haloed lion of St. Mark resting its paw upon an open Gospel inscribed “PAX TIBI MARCE EVANGELISTA MEUS.”
The red base contains a horizontal silver bar, a central tower from the Roncalli family arms, and two silver fleur‑de‑lis
representing his service as Archbishop of Asia Minor and Mesembria. The crossed keys and papal tiara complete the heraldic achievement.
Details
Pope
Image
John XXIII – 5 Lire (1959)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. I — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.5 / 1959 / IVSTITIA — Justice kneeling with sword and scales Date: 1959, 5 Lire
Historical Note:1959 – The Good Pope:
Struck in Year 1. John XXIII’s first year was marked by his unexpected announcement of the Second Vatican Council.
Though continuing the “Justice” theme of his predecessor, this coin introduced the profile of a pope who would reshape
the Church’s relationship with the modern world.
John XXIII – 100 Lire (1959)
Mint: Rome
Obverse: IOANNES XXIII P.M. AN. I — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.100 / 1959 — Papal heraldic achievement (Roncalli Arms) Date: 1959, 100 Lire
Historical Note:1959 – The Lion of Venice:
The 100 Lire features the new Pope’s arms, including the Lion of St. Mark — a nod to his years as Patriarch of Venice.
This denomination served as a durable, high‑value coin during Italy’s economic boom, and the Vatican’s version marked a
return to traditional heraldry for major circulating issues.
John XXIII – 500 Lire (1959)
Mint: Rome — Edge: GIUSTIZIA E PACE
Obverse: IOANNES XXIII P.M. AN. I — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.500 / 1959 — Papal heraldic achievement Date: 1959, 500 Lire
Historical Note:1959 – A Sovereign Presence:
The 500 Lire was the most prestigious circulating coin of the Vatican.
In 1959, John XXIII broke precedent by visiting prisoners and hospitalized children, signaling a new pastoral openness.
This silver issue circulated during the very months he began preparing the Second Vatican Council.
John XXIII – 1 Lira (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.1 / 1960 / TEMPERANTIA — Temperance crouching, pouring liquid from jug to patera Date: 1960, 1 Lira
Historical Note:1960 – The Spirit of the Games:
Issued during the year Rome hosted the Summer Olympics.
John XXIII welcomed athletes from around the world, emphasizing balance and virtue — themes reflected in the allegory of
Temperantia.
This lightweight Italma coin circulated widely during a year of global attention on the Eternal City.
John XXIII – 2 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.2 / 1960 / FORTITVDO — Allegory of Fortitude seated, holding a spear with a lion behind Date: 1960, 2 Lire
Historical Note:1960 – Strength in Peace:
Struck in Year 2. The updated Fortitudo design shows calm, steadfast strength rather than aggression, mirroring John XXIII’s
diplomatic style as he navigated early Cold War tensions.
John XXIII – 5 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.5 / 1960 / IVSTITIA — Justice kneeling with sword and scales Date: 1960, 5 Lire
Historical Note:1960 – The Scales of the Law:
The kneeling Justice reflects John XXIII’s belief that justice must be joined with mercy.
This was the year of the historic Roman Synod and the Vatican’s first official greeting to a Shinto high priest.
John XXIII – 10 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.10 / 1960 / PRVDENTIA — Prudence kneeling with mirror and cross Date: 1960, 10 Lire
Historical Note:1960 – Reflection and Reform:
As preparations for Vatican II intensified, Prudence — with her mirror of self‑examination — became a fitting symbol of the
Church’s careful approach to reform.
John XXIII – 20 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.20 / 1960 / CARITAS — Charity seated, embracing three children Date: 1960, 20 Lire
Historical Note:1960 – The Pope of Charity:
John XXIII revitalized Vatican charitable outreach, famously visiting Rome’s “Hospice of the Poor.”
Caritas — embracing children — perfectly captured his pastoral identity.
John XXIII – 50 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. II — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.50 / 1960 / SPES — Hope standing, holding an anchor Date: 1960, 50 Lire
Historical Note:1960 – An Anchor in the Storm:
As Cold War tensions escalated, Spes — with her anchor — symbolized stability and hope.
This coin matched the Italian 50 Lire in size, making it instantly familiar to visitors during the Olympic year.
John XXIII – 100 Lire (1960)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII P.M. AN. II — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.100 / 1960 / FIDES — Faith standing, holding a cross and chalice Date: 1960, 100 Lire
Historical Note:1960 – The Foundation of Faith:
Featuring Fides with cross and chalice, this was the largest circulating denomination.
In 1960, John XXIII approved the new Code of Rubrics — an early step toward the reforms of Vatican II.
John XXIII – 1 Lira (1961)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. III — Papal heraldic achievement (Roncalli Arms) Reverse: CITTA' DEL VATICANO / L.1 / 1961 / TEMPERANTIA — Temperance crouching, pouring liquid from jug into patera Date: 1961, 1 Lira
Historical Note:1961 – A Year of Mother and Teacher:
Struck in Year 3. As the world watched the Berlin Wall rise, John XXIII emphasized Temperantia in his encyclical
*Mater et Magistra*, calling for balance between economic progress and human dignity.
This small Italma coin carried that message into everyday circulation.
John XXIII – 5 Lire (1961)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. III — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.5 / 1961 / IVSTITIA — Justice kneeling with sword and scales Date: 1961, 5 Lire
Historical Note:1961 – Justice for the Developing World:
As newly independent nations emerged across Africa and Asia, John XXIII urged global economic fairness.
The kneeling figure of Justice reflects the humility and moral seriousness of his appeals for equitable development.
John XXIII – 20 Lire (1961)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONT. MAX. AN. III — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.20 / 1961 / CARITAS — Charity seated, embracing three children Date: 1961, 20 Lire
Historical Note:1961 – Mother and Teacher:
The theme of Caritas (Charity) perfectly reflects the encyclical *Mater et Magistra*.
The maternal figure sheltering children symbolized the Church as a home for all during a time of rapid global change.
John XXIII – 1 Lira (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Papal heraldic achievement (Roncalli Arms) Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.1 — Holy Spirit as a Dove with rays Date: 1962, 1 Lira
Historical Note:1962 – The Council Begins:
Struck in Year 4. Over 2,000 bishops gathered in Rome for Vatican II.
The legend “INITVM” marks the beginning of the Council, and the Dove symbolizes the “New Pentecost” John XXIII hoped to inspire.
John XXIII – 2 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Papal heraldic achievement Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.2 — Holy Spirit as a Dove with rays Date: 1962, 2 Lire
Historical Note:1962 – Unity and Peace:
Minted during the Cuban Missile Crisis, as John XXIII appealed for peace.
The Dove symbolized both the Holy Spirit and the Pope’s call for global reconciliation.
John XXIII – 5 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope right Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.5 — Holy Spirit as a Dove with rays Date: 1962, 5 Lire
Historical Note:1962 – The Face of Reform:
The only small denomination in the set to feature John XXIII’s portrait.
Issued the same year he was named *Time* Magazine’s “Man of the Year.”
John XXIII – 10 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope left Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.10 — Holy Spirit as a Dove with rays Date: 1962, 10 Lire
Historical Note:1962 – A Council for the Modern World:
Issued as Vatican II opened, symbolizing the “New Pentecost” John XXIII envisioned for the Church.
John XXIII – 20 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope left Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.20 — Holy Spirit as a Dove with rays Date: 1962, 20 Lire
Historical Note:1962 – The Winds of Change:
Struck in Bronzital.
Minted as John XXIII drafted *Pacem in Terris*, his final and most influential call for world peace.
John XXIII – 50 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope right Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.50 — Pope presiding over the Council; Dove above Date: 1962, 50 Lire
Historical Note:1962 – The Assembly of Bishops:
One of the most detailed reverses in Vatican coinage, depicting the Pope and Council Fathers beneath the Holy Spirit.
John XXIII – 100 Lire (1962)
Mint: Rome — Engraver: P. Giampaoli
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope left Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.100 — Council session inside St. Peter’s Date: 1962, 100 Lire
Historical Note:1962 – The Great Assembly:
The largest steel denomination of the set, showing the Pope presiding over Vatican II inside the Basilica.
John XXIII – 500 Lire (1962)
Mint: Rome — Edge: GIUSTIZIA E PACE
Obverse: IOANNES XXIII PONTIFEX MAXIMVS AN. IV — Bust of the Pope left wearing the Triple Tiara Reverse: CONCILIVM OEC. VAT. II A. MCMLXII INITVM / CITTA' DEL VATICANO / L.500 — Council in session beneath the Dove Date: 1962, 500 Lire
Historical Note:1962 – The Tiara and the Council:
The only coin in the set showing John XXIII wearing the Triple Tiara.
The reverse depicts the Bishops’ benches inside St. Peter’s during Vatican II — a highly sought‑after silver issue.
Sede Vacante – 500 Lire (1963)
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Sede Vacante – 500 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: SEDE VACANTE MCMLXIII — Arms of Cardinal Benedetto Aloisi‑Masella beneath the Ombrellino and Crossed Keys Reverse: STATO DELLA CITTA' DEL VATICANO / L.500 / VENI SANCTE SPIRITVS — Holy Spirit as a Dove emitting rays Date: 1963, 500 Lire (Sede Vacante)
Historical Note:1963 – Between Two Eras:
Struck during the interregnum following the death of John XXIII.
The invocation “VENI SANCTE SPIRITVS” served as a prayer for the Cardinals entering the Conclave that would elect
Cardinal Montini as Pope Paul VI, who pledged to continue the Second Vatican Council.
Coins from the Vatican City have been made available to collectors as sets. Some sets are very common and can be obtained for little outlay, while others are quite rare and command high prices. The below coins are from those sets which have been photographed separately.
For Paul VI the Papal heraldic achievement is comprised of;
the Crossed Keys - symbolising the authority of the Pope, which is further taken from a Biblical passage where Jesus gives Peter "the keys to the Kingdom of Heaven",
the Papal tiara - a triple headded headpiece of the Pope's spiritual and temporal power and the three levels those manifest in the Church, the state and the universal church.
the escutcheon - The shield or coat of arms, with three fleur-de-lis and 6 upright lozenges. One suggestion is that the Pope's name is Giovanni Battista Enrico Antonio Maria Montini and Montini means "From the mountain" The 6 upright lozengs in the form of a mountain may be an expression of this surname.
Early sets concentrated on depicting the Church's focus on virtues. There are the four Cardinal virtues of Prudence, Justice, Fortitude and Temperance, and the three Theological virtues of faith hope and charity. These seven virtues were seen as the anthesis of the seven deadly sins.
It is worth noting that these coins are minted to varying standards of quality. Some, particually those minted in alumimum are prone to striking issues mever mind corrosion. Many of the sets follow a theme or style which will be gone into more below.
Paul VI – 1963 Set
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Paul VI – 1 Lira (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Papal heraldic achievement (Montini Arms) Reverse: CITTA' DEL VATICANO / LIRE 1 / 1963 / TEMPERANTIA — Temperance seated, pouring from a jug into a patera Date: 1963, 1 Lira
Historical Note:1963 – The New Shepherd:
Struck in Year 1. The inaugural 1 Lira of Paul VI features the Montini coat of arms, marked by the six mountains and fleur‑de‑lis.
The choice of Temperantia reflected Paul VI’s disciplined, thoughtful approach as he assumed leadership of the ongoing Second Vatican Council.
Paul VI – 2 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / LIRE 2 / 1963 / FORTITVDO — Fortitude seated with shield, mace, and lion Date: 1963, 2 Lire
Historical Note:1963 – Diplomatic Resolve:
Struck in Year 1. The Renaissance‑inspired Fortitudo symbolizes steady, protective strength — reflecting Paul VI’s resolve
as he assumed leadership of the Church during the Second Vatican Council.
Paul VI – 5 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 5 / 1963 / IVSTITIA — Justice seated with sword and scales Date: 1963, 5 Lire
Historical Note:1963 – The Face of Justice:
The first portrait coin of Paul VI. Justice wears the *corona radiata*, symbolizing sanctified authority — echoing Paul VI’s
early emphasis on social reform and global peace.
Paul VI – 10 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 10 / 1963 / PRVDENTIA — Prudence with mirror and serpent‑entwined rod Date: 1963, 10 Lire
Historical Note:1963 – The Mirror of Wisdom:
Prudentia’s mirror symbolizes self‑examination — essential as Paul VI guided the Council through its most complex debates.
Paul VI – 20 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 20 / 1963 / CARITAS — Charity seated with three children Date: 1963, 20 Lire
Historical Note:1963 – A Universal Love:
Caritas reflects Paul VI’s expanding global humanitarian mission and early reforms of the Church’s charitable outreach.
Paul VI – 50 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 50 / 1963 / SPES — Hope standing with anchor Date: 1963, 50 Lire
Historical Note:1963 – Hope for Tomorrow:
Spes symbolizes the optimism Paul VI sought to inspire as he continued the work of Vatican II.
Paul VI – 100 Lire (1963)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 100 / 1963 / FIDES — Faith with cross and chalice Date: 1963, 100 Lire
Historical Note:1963 – A Foundation of Faith:
Fides reflects Paul VI’s emphasis on doctrinal continuity as he guided the Church through rapid change.
Paul VI – 500 Lire (1963)
Mint: Rome — Edge: GIUSTIZIA E PACE
Obverse: PAVLVS VI PONTIFEX MAXIMVS AN. I / GIAMPAOLI — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 500 / 1963 — Papal heraldic achievement (Montini Arms) Date: 1963, 500 Lire
Historical Note:1963 – The Silver Standard:
The premier silver issue of Paul VI’s first year, circulating as he prepared for his historic 1964 pilgrimage to the Holy Land.
Paul VI – 1964 Set
Details
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Paul VI – 1 Lira (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Papal heraldic achievement (Montini Arms) Reverse: CITTA' DEL VATICANO / L.1 / 1965 / TEMPERANTIA — Temperance seated, pouring from jug into patera Date: 1965, 1 Lira
Historical Note:1965 – Strength to Complete the Council:
Fortitudo symbolizes the resolve needed as the Council finalized its most controversial documents.
Paul VI – 5 Lire (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.5 / 1965 / IVSTITIA — Justice seated with sword and scales Date: 1965, 5 Lire
Historical Note:1965 – Justice and Renewal:
Issued as *Gaudium et Spes* was completed, emphasizing human dignity and social justice.
Paul VI – 10 Lire (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.10 / 1965 / PRVDENTIA — Prudence standing with mirror and serpent‑rod Date: 1965, 10 Lire
Historical Note:1965 – Guiding Wisdom:
Prudence reflects Paul VI’s careful navigation of the Council’s final doctrinal debates.
Paul VI – 20 Lire (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.20 / 1965 / CARITAS — Charity seated with three children Date: 1965, 20 Lire
Historical Note:1965 – Charity as Mission:
Issued as the Church expanded global humanitarian work following the Council’s reforms.
Paul VI – 50 Lire (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.50 / 1965 / SPES — Hope standing with anchor Date: 1965, 50 Lire
Historical Note:1965 – Hope for Renewal:
Spes symbolizes the optimism surrounding the close of Vatican II.
Paul VI – 100 Lire (1965)
Mint: Rome — Engraver: M. Manfrini
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.100 / 1965 / FIDES — Faith with cross and chalice Date: 1965, 100 Lire
Historical Note:1965 – Faith Anchored:
Fides reflects the doctrinal core reaffirmed by the Council’s final documents.
Paul VI – 500 Lire (1965)
Mint: Rome — Edge: GIUSTIZIA E PACE
Obverse: PAVLVS VI PONT. MAX. A. III — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.500 / 1965 — Papal heraldic achievement (Montini Arms) Date: 1965, 500 Lire
Historical Note:1965 – The Council Concludes:
The final silver issue of the Vatican II era, marking the close of the most important Church council of the 20th century.
Paul VI – 1965 Set
Details
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Paul VI – 1 Lira (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III — Papal heraldic achievement (Montini Arms) Reverse: CITTA' DEL VATICANO / LIRE 1 / 1965 / TEMPERANTIA — Temperance seated, pouring from jug into patera Date: 1965, 1 Lira
Historical Note:1965 – Standing Firm:
Fortitudo reflects Paul VI’s moral resolve during his historic UN address: “No more war.”
Paul VI – 5 Lire (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III / J.P — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 5 / 1965 / IVSTITIA — Justice seated with sword and scales Date: 1965, 5 Lire
Historical Note:1965 – Justice and Reconciliation:
Issued the year Paul VI and Patriarch Athenagoras lifted the 1054 excommunications.
Paul VI – 10 Lire (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III / J.P — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 10 / 1965 / PRVDENTIA — Prudence with mirror and serpent Date: 1965, 10 Lire
Historical Note:1965 – Prudence at the Council’s Close:
Prudentia symbolizes the wisdom needed to finalize *Gaudium et Spes*.
Paul VI – 20 Lire (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III / J.P — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 20 / 1965 / CARITAS — Charity seated with three children Date: 1965, 20 Lire
Historical Note:1965 – Charity for the Nations:
Issued the year Paul VI addressed the UN, calling development “the new name for peace.”
Paul VI – 50 Lire (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III / J.P — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 50 / 1965 / SPES — Hope standing with anchor Date: 1965, 50 Lire
Historical Note:1965 – Anchored in Hope:
Spes symbolizes optimism as Vatican II concluded.
Paul VI – 100 Lire (1965)
Mint: Rome — Engraver: P. Giampaoli
Obverse: PAVLVS VI PONT. MAX. A. III / J.P — Bust of the Pope left Reverse: CITTA' DEL VATICANO / LIRE 100 / 1965 / FIDES — Faith with cross and chalice Date: 1965, 100 Lire
Historical Note:1965 – The Culmination of Faith:
Fides represents the doctrinal core reaffirmed at the Council’s close.
Paul VI – 500 Lire (1965)
Mint: Rome — Silver 0.835 — Edge: GIUSTIZIA E PACE
Obverse: PAVLVS VI PONT. MAX. A. III / GIAMPAOLI — Bust of the Pope right Reverse: CITTA' DEL VATICANO / LIRE 500 / 1965 — Papal heraldic achievement (Montini Arms) Date: 1965, 500 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.1 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 1 Lira
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.2 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 2 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.5 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 5 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.10 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 10 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.20 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 20 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.50 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 50 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.100 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 100 Lire
Obverse: PAVLVS VI P.M. ANNO IV / E. GRECO — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.500 / 1966 — The Good Shepherd carrying a lamb Date: 1966, 500 Lire
Historical Note:1966 – Silver Pastoralism:
A rare Vatican silver coin without the Papal arms, emphasizing the new pastoral identity.
Paul VI – 1967 Set
From 1967 onward, Vatican coin dates appear in Roman numerals.
Details
Pope
Image
Paul VI – 1 Lira (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. V / A.D. MCMLXVII — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.1 / MCMLXVII — Keys crossed over a vertical sword Date: 1967, 1 Lira
Historical Note:1967 – The Apostles’ Year:
The sword of St. Paul behind the keys of St. Peter symbolizes the dual foundation of the Church.
Paul VI – 2 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. V / A.D. MCMLXVII — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.2 / MCMLXVII — Keys and Papal Tiara over St. Peter’s Cross Date: 1967, 2 Lire
Historical Note:1967 – The Petrine Office:
The inverted cross recalls Peter’s martyrdom and humility.
Paul VI – 5 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. V — Bust of the Pope right Reverse: CITTA' DEL VATICANO / A.D. MCMLXVII / L.5 — Keys crossed over a sword Date: 1967, 5 Lire
Historical Note:1967 – A Profile in Faith:
Pirrone’s portrait is more traditional than Greco’s modernist 1966 style.
Paul VI – 10 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONTIFEX MAXIMVS A. V — Bust of the Pope left Reverse: CITTA' DEL VATICANO / A.D. MCMLXVII / L.10 — Keys and Tiara over St. Peter’s Cross Date: 1967, 10 Lire
Historical Note:1967 – The Petrine Office Enlarged:
A larger, more detailed rendering of the 2 Lire design.
Paul VI – 20 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONTIFEX MAXIMVS A. V — Bust of the Pope right Reverse: CITTA' DEL VATICANO / A.D. MCMLXVII / L.20 — Saints Peter and Paul standing Date: 1967, 20 Lire
Historical Note:1967 – The Pillars of Rome:
Peter holds the keys; Paul holds the sword and the Word.
Paul VI – 50 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONTIFEX MAXIMVS A. V — Bust of the Pope right Reverse: CITTA' DEL VATICANO / A.D. MCMLXVII / L.50 — Conversion of St. Paul Date: 1967, 50 Lire
Historical Note:1967 – The Road to Damascus:
A dramatic depiction of Paul struck down by divine light.
Paul VI – 100 Lire (1967)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONTIFEX MAXIMVS A. V — Bust of the Pope left Reverse: CITTA' DEL VATICANO / A.D. MCMLXVII / L.100 — St. Peter seated on the Cathedra Date: 1967, 100 Lire
Obverse: PAVLVS VI PONTIFEX MAXIMVS A. V — Bust of the Pope left Reverse: CITTA' DEL VATICANO / G.P / L.500 — Saints Peter and Paul standing Date: 1967, 500 Lire
Historical Note:1967 – The Apostolic Anniversary:
Edge legend: IN NOMINE DOMINI, marking the 1900th anniversary of the apostles’ martyrdom.
Paul VI – 1968 Set
The 1968 set commemorates the FAO (Food and Agriculture Organization) and its mission: fiat panis — “let there be bread.”
Details
Pope
Image
Paul VI – 1 Lira (1968)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI P. MAX. A. VI — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.1 / 1968 — Radiant cross formed by barley ears Date: 1968, 1 Lira
Historical Note:1968 – The Seed of Faith:
Barley arranged as a radiant cross symbolizes Christ as the “Grain of Wheat.”
Paul VI – 2 Lire (1968)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. VI — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.2 / 1968 — Christ offering bread to a kneeling figure Date: 1968, 2 Lire
Historical Note:1968 – Breaking Bread:
A direct symbol of charity and Eucharistic nourishment during a turbulent year.
Paul VI – 5 Lire (1968)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. VI — Bust of the Pope right Reverse: CITTA' DEL VATICANO / L.5 / 1968 — Our Lady of the Harvest holding barley Date: 1968, 5 Lire
Historical Note:1968 – The Harvest of Grace:
A Marian symbol linking maternal care with the world’s need for sustenance.
Paul VI – 10 Lire (1968)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. VI — Bust of the Pope left Reverse: CITTA' DEL VATICANO / L.10 / 1968 — Christ offering bread to a kneeling figure Date: 1968, 10 Lire
Historical Note:1968 – Nature and Grace:
The Bronzital alloy gives warmth to the barley‑cross Eucharistic theme.
Paul VI – 50 Lire (1968)
Mint: Rome — Artist: Giuseppe Pirrone — Engraver: G.M. Monassi
Obverse: PAVLVS VI PONT. MAX. A. VI — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.50 / 1968 — Our Lady of the Harvest Date: 1968, 50 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.1 — Reclining angel facing left, raising a cross Date: 1969, 1 Lira
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.2 — Reclining angel with four stars Date: 1969, 2 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.5 — Reclining angel raising a cross Date: 1969, 5 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.10 — Reclining angel with four stars Date: 1969, 10 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.20 — Reclining angel facing right with three stars Date: 1969, 20 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.50 — Reclining angel facing right with three stars Date: 1969, 50 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.100 — Reclining angel with four stars Date: 1969, 100 Lire
Obverse: PAVLVS VI P.M. ANNO VII / MCMLXIX — Bust of the Pope semi‑left wearing Mitre Reverse: CITTA' DEL VATICANO / L.500 — Reclining angel raising a cross Date: 1969, 500 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.50 — Olive branch with fruit Date: 1970, 50 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.100 — Dove with olive branch Date: 1970, 100 Lire
Historical Note:1971 – The Enduring Victory:
The palms continued unchanged from 1970, symbolizing stability during the early years of the Novus Ordo reforms.
Historical Note:1971 – Rebirth and Purification:
The stag symbolizes the soul seeking the “living water,” echoing Paul VI’s calls for spiritual renewal.
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.50 — Olive branch with fruit Date: 1971, 50 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L.100 — Dove with olive branch Date: 1971, 100 Lire
Historical Note:1971 – The Enduring Victory:
Struck in Year 9 (A. IX). The palm motif continued unchanged, symbolizing resilience during the turbulent early years of post‑conciliar reform.
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 2 — Agnus Dei (Lamb of God) standing right Date: 1971, 2 Lire
Historical Note:1971 – The Paschal Lamb:
The Agnus Dei remained a central symbol as Paul VI emphasized Christian social responsibility in *Octogesima adveniens*.
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 5 — Pelican in her piety (feeding young) Date: 1971, 5 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 10 — Fish (Ichthys) swimming left Date: 1971, 10 Lire
Historical Note:1971 – The Primacy of the Fisher:
The ancient Christian fish symbol reinforced Paul VI’s emphasis on evangelization and lay involvement.
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 20 — Red Deer (Stag) at a waterfall Date: 1971, 20 Lire
Historical Note:1971 – Rebirth and Purification:
The stag symbolizes the soul seeking the “living water,” echoing Paul VI’s calls for spiritual renewal.
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 50 — Olive branch with fruit Date: 1971, 50 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 100 — Dove flying left with olive branch Date: 1971, 100 Lire
Obverse: * PAVLVS VI P.M. A. IX * MCMLXXI — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 500 — Fish (Ichthys) swimming left Date: 1971, 500 Lire — Silver 0.835 — Edge: +++ IN NOMINE DOMINI
Historical Note:1974 – The Palm of Preparation:
Issued in Year 12 as the Vatican prepared for the 1975 Jubilee. The minimalist palm motif symbolized spiritual victory and continuity.
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 2 — Agnus Dei (Lamb of God) standing right Date: 1974, 2 Lire
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 10 — Fish (Ichthys) swimming left Date: 1974, 10 Lire
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 20 — Red Deer at waterfall Date: 1974, 20 Lire
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 50 — Olive branch with fruit Date: 1974, 50 Lire
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 100 — Dove flying left with olive branch Date: 1974, 100 Lire
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement Reverse: CITTA' DEL VATICANO / L. 500 — Fish (Ichthys) swimming left Date: 1974, 500 Lire — Silver 0.835 — Edge: +++ IN NOMINE DOMINI
Historical Note:1974 – The Silver Fisherman:
The prestigious silver crown echoed the ancient identity of the Papacy as the successor of the fisherman.
Paul VI – 1974 Set
Details
Pope
Image
Paul VI – 1 Lira (1974)
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 1 — Three upright palm leaves
Historical Note:1974 – The Palm of Preparation:
Struck in Year 12 (A. XII). In 1974, the Vatican was preparing for the 1975 Jubilee.
The palm leaves continued to symbolize spiritual victory.
Obverse: * PAVLVS VI P.M. A. XII * MCMLXXIV — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 500 — Fish (Ichthys) swimming left
Historical Note:1974 – The Silver Fisherman:
The 500 Lire silver crown continued the Ichthys theme, symbolizing the Pope as the successor of the Fisherman.
Mint: Rome — Silver 0.835
Edge: +++ IN NOMINE DOMINI
Artist: Tommaso Gismondi
Engraver: G.M. Monassi
For the Holy Year of 1975 an additional set of coins was designed by Guido Veroi.
The reverses here are of a very different design, one that concentrates on filling
the planchette for every denomination.
Details
Pope
Image
Paul VI – 1 Lira (1975)
Obverse: PAVLVS VI P.M. AN. IVB. MCMLXXV — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 1 — “Faith in the Lord” (Fides)
Historical Note:1975 – The Hand of Faith:
Struck for the Holy Year. Veroi’s design depicts a figure reaching out in a gesture of trust,
reflecting the Jubilee theme of “Renewal.”
Obverse: PAVLVS VI P.M. AN. IVB. MCMLXXV — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 5 — “Redemption of the Woman of Bethany”
Historical Note:1975 – Mercy and Ointment:
The scene of the woman washing Christ’s feet symbolizes humility and devotion, central to Jubilee spirituality.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 1 — Three upright palm leaves
Historical Note:1976 – The Palm of Persistence:
Struck in Year 14 (A. XIV). After the intensity of the 1975 Jubilee, the series returned to the simple Gismondi palm.
Paul VI, increasingly concerned with Europe’s secularization, used this symbol to emphasize spiritual endurance.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 2 — Agnus Dei (Lamb of God) standing right
Historical Note:1976 – The Lamb in the Cold War:
Struck in Year 14. The Agnus Dei symbol paralleled Paul VI’s delicate diplomatic efforts with the Soviet bloc,
reflecting a strategy of gentle spiritual presence during tense geopolitical negotiations.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 5 — Pelican in her piety feeding young
Historical Note:1976 – Sacrifice Reaffirmed:
The pelican symbol, representing Eucharistic sacrifice, remained a constant during a year marked by internal Church tensions
and global ideological shifts.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 10 — Fish (Ichthys) swimming left
Historical Note:1976 – The Ancient Ichthys:
As Italy faced political violence during the “Years of Lead,” the Ichthys symbol circulated as a quiet reminder
of Christian identity and continuity.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 20 — Red Deer (Stag) at a waterfall
Historical Note:1976 – Purification and Rebirth:
The stag, destroyer of serpents in medieval bestiaries, symbolized Christ’s triumph over evil and the renewal of the soul.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 50 — Olive branch with fruit
Historical Note:1976 – The Workhorse of Peace:
The olive branch symbolized reconciliation during a year when Paul VI frequently appealed for peace
in Lebanon and the Middle East.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 100 — Dove flying left holding olive branch
Historical Note:1976 – The Dove of Post‑Jubilee Peace:
The Noahic dove remained a symbol of hope as the Vatican transitioned from Jubilee celebrations
to the economic and social challenges of the late 1970s.
Obverse: * PAVLVS VI P.M. A. XIV * MCMLXXVI — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 500 — Fish (Ichthys) swimming left
Edge: +++ IN NOMINE DOMINI
Historical Note:1976 – The Silver Successor:
The 500 Lire silver crown continued the Ichthys theme, maintaining the prestige of Vatican silver coinage
even as many nations abandoned precious‑metal issues.
This is the last year the 1 Lira and 2 Lire coins appeared in sets.
Details
Pope
Image
Paul VI – 1 Lira (1977)
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 1 — Three upright palm leaves
Historical Note:1977 – The Palm of Persistence:
Struck in Year 15 (A. XV). As Paul VI approached his 80th birthday, the 1 Lira continued to symbolize spiritual endurance.
This year’s strike is noted for its sharp execution as the Rome Mint maintained high standards late in the papacy.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 2 — Agnus Dei (Lamb of God) standing right
Historical Note:1977 – The Lamb of the Twilight Years:
Struck in Year 15. The Agnus Dei remained a symbol of peace during a year marked by social tension in Italy.
As Paul VI’s health declined, the “Lamb of God” became a poignant emblem of sacrifice and service.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 5 — Pelican in her piety feeding young
Historical Note:1977 – The Eucharistic Pelican:
The pelican symbol, representing self‑sacrifice, aligned with Paul VI’s birthday reflections on “giving of oneself.”
This medieval allegory remained a powerful visual expression of Eucharistic theology.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 10 — Fish (Ichthys) swimming left
Historical Note:1977 – The Timeless Sign:
The Ichthys symbol continued to represent the earliest Christian identity.
As Paul VI turned 80, the fish served as a metaphor for resilience during economic and social turbulence.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 20 — Red Deer (Stag) at a waterfall
Historical Note:1977 – Rebirth and Antiquity:
The stag symbolized the soul’s longing for God.
By 1977, this design had become iconic, marking the long and transformative reign of Paul VI.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 50 — Olive branch with fruit
Historical Note:1977 – A Legacy of Peace:
The olive branch symbolized Paul VI’s lifelong mission of global reconciliation.
This stainless‑steel coin circulated widely as a “pocket‑sized” message of Vatican diplomacy.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 100 — Dove flying left holding olive branch
Historical Note:1977 – The Dove of the Penultimate Year:
The dove symbolized hope and peace as Paul VI entered his final full year.
This coin circulated widely during his 80th‑birthday celebrations.
Obverse: * PAVLVS VI P.M. A. XV * MCMLXXVII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 500 — Fish (Ichthys) swimming left
Edge: +++ IN NOMINE DOMINI
Historical Note:1977 – The Silver Milestone:
The final full‑year silver crown of Paul VI’s reign.
The Ichthys symbol reinforced the Pope’s identity as the “Fisher of Men.”
This set is highly stylized with elongated, almost Scandinavian figures.
The theme is Biblical stories from the Gospels.
This is the last year the 5 Lire coin appeared in Vatican sets.
Details
Pope
Image
Paul VI – 5 Lire (1978)
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 5 — Stylized figure walking left with lamp
Historical Note:1978 – The Lamp of Vigilance:
Struck in the Pope’s final year (A. XVI). Morelli’s design references the
Parable of the Ten Virgins (Matthew 25).
As Paul VI made his last public appearances, the theme of spiritual readiness took on a poignant tone.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 10 — Stylized figure kneeling left
Historical Note:1978 – The Faith of the Canaanite:
Depicts the Canaanite Woman’s Faith (Matthew 15).
Morelli’s minimalist, elongated figures marked a dramatic artistic shift in Vatican coinage.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 20 — Father welcoming the Prodigal Son
Historical Note:1978 – The Embrace of Mercy:
Depicts the Prodigal Son.
Released during the “Year of the Three Popes,” this design became a symbolic farewell to Paul VI’s reconciliatory papacy.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 50 — Christ and the Child
Historical Note:1978 – The Faith of a Child:
Illustrates Matthew 18:3.
Morelli’s tender, simplified figures echoed Paul VI’s emphasis on humility and child‑like faith.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 100 — Jesus teaching in the Temple
Historical Note:1978 – The Teacher in the Temple:
Depicts Christ teaching the elders.
The Romanesque‑modernist background echoed the Vatican’s engagement with contemporary culture after Vatican II.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement
Reverse: CITTA' DEL VATICANO / L. 200 — The Sermon on the Mount
Historical Note:1978 – The Mount of Beatitudes:
Depicts Christ delivering the Beatitudes.
As Paul VI passed away in August 1978, this coin circulated as a final summary of his Gospel‑centered mission.
Obverse: * PAVLVS VI P.M. A. XVI * MCMLXXVIII — Papal heraldic achievement (Montini Arms)
Reverse: CITTA' DEL VATICANO / L. 500 — “The Calling of Peter and Andrew”
Edge: +++ IN NOMINE DOMINI
Historical Note:1978 – Fisher of Men:
Struck in 0.835 silver.
Depicts Christ calling the fishermen — a profound symbol of the Papal office.
Released just as the world learned of Paul VI’s passing, this coin became the final silver testament of his reign.
Obverse:
SEDE VACANTE MCMLXXVIII — Arms of Cardinal Jean‑Marie Villot (Camerlengo),
beneath the Umbraculum and crossed keys.
Reverse:
VENI SANCTE SPIRITVS / STATO DELLA CITTA' DEL VATICANO / L. 500 —
Radiant Dove of the Holy Spirit.
Edge: STATO DELLA CITTA' DEL VATICANO
Historical Note:1978 – The Empty Throne:
Struck during the interregnum following the death of Paul VI.
The inscription “Veni Sancte Spiritus” invokes divine guidance for the Cardinals entering conclave.
As the BBC reported at the time, global attention focused on the Sistine Chapel, making this silver issue
a tangible relic of a dramatic moment in Church history.
Obverse:
IOANNES PAVLVS I MCMLXXVIII — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement (Luciani Arms)
Edge: HUMILITAS + + +
Historical Note:1978 – The Short‑Lived Smile:
This silver coin is the only standard denomination issued for Albino Luciani, the “Smiling Pope.”
His motto, Humilitas (Humility), appears on the edge — a virtue that defined his gentle, pastoral style.
Following his sudden death after only 33 days, BBC correspondents described this coin as a rare and poignant
artifact of a papacy that ended almost before it began, with no lower‑denomination coins ever produced.
1978 Sede Vacante – September (Cardinal Jean Villot)
Details
Camerlengo
Image
Sede Vacante – 500 Lire (September 1978)
Obverse:
SEDE VACANTE / SEPTEMBER MCMLXXVIII — Arms of Cardinal Jean‑Marie Villot (Camerlengo),
beneath the Umbraculum and crossed keys of the vacant See.
Reverse:
VENI SANCTE SPIRITVS / STATO DELLA CITTA' DEL VATICANO / L. 500 —
Radiant Dove of the Holy Spirit.
Edge: STATO DELLA CITTA' DEL VATICANO
Historical Note:1978 – The Second Empty Throne:
Struck during the second interregnum of 1978, following the sudden death of John Paul I.
This issue is unique in Vatican numismatics for explicitly naming the month SEPTEMBER,
distinguishing it from the earlier Sede Vacante coins minted after Paul VI’s death in August.
As BBC Radio 4’s *From Our Own Correspondent* observed, the repeated invocation
“Veni Sancte Spiritus” carried a heavy significance as the Cardinals returned to the Sistine Chapel
for the second conclave in just two months.
This set commemorates Peace and the Cardinal Virtues.
It is the first appearance of the official heraldic arms of John Paul II on coinage:
a blue shield with an off‑centre gold cross and a large gold “M” (Marian Cross),
symbolizing Mary at the foot of the Cross.
His motto Totus Tuus (“all yours”) reflects his deep Marian devotion.
Details
Pope
Image
John Paul II – 10 Lire (1979)
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 10 / TEMPERANTIA — Temperance seated with chalice
Historical Note:1979 – The Virtue of Restraint:
Struck in the first year of the pontificate (A. I).
Veroi’s depiction of Temperantia symbolized the balance between spiritual and material life.
As the BBC noted during the Pope’s energetic first year, these coins acted as a moral manifesto
for a new and dynamic papacy.
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 20 / FORTITUDO — Fortitude with sword and laurel
Historical Note:1979 – Moral Fortitude:
The Bronzital 20 Lire depicts Fortitudo.
The election of the first Polish Pope was widely seen as a moment of renewed strength for the Church,
especially in the context of Cold War tensions.
Veroi’s crowned figure holding both sword and wreath symbolizes strength united with peaceful victory.
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 50 / IVSTITIA — Justice with scales and sword
Historical Note:1979 – Justice for All:
The Acmonital 50 Lire features Iustitia.
In his first encyclical *Redemptor Hominis*, John Paul II emphasized human rights and social justice.
This coin visually echoed that message, reinforcing the Pope’s early global advocacy.
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 100 / PRVDENTIA — Prudence seated with mirror
Historical Note:1979 – The Mirror of Prudence:
The Acmonital 100 Lire depicts Prudentia.
The mirror symbolizes self‑knowledge and truth.
As the BBC reported, John Paul II’s early leadership required careful navigation of Curial politics
and global expectations — making Prudence a fitting virtue for his first year.
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 200 / PAX — Peace resting by an olive tree
Historical Note:1979 – The Vigil of Peace:
The Bronzital 200 Lire shows a contemplative Pax.
Unlike triumphant depictions of Peace, this figure rests — suggesting peace requires vigilance.
This resonated with John Paul II’s 1979 address to the UN, where he stressed that peace depends on justice.
Obverse:
IOANNES PAVLVS II P.M. A. I MCMLXXIX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 500 — Papal heraldic achievement (Wojtyła Arms)
Edge: +++ TOTVS TVVS +++ MCMLXXIX
Historical Note:1979 – Totus Tuus:
Struck in 0.835 silver.
This inaugural silver crown features the Marian Cross — the off‑centre cross with the large “M”.
The edge inscription Totus Tuus was John Paul II’s personal motto.
As the world witnessed the rise of the “Polish Pope,” this coin became his numismatic signature.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 10 / TEMPERANTIA — Crowned seated Temperance holding a chalice
Historical Note:1980 – Temperance Reaffirmed:
Struck in Year 2 (A. II).
As the BBC reported on the Pope’s major international tours of 1980, including Africa and France,
the 10 Lire continued to circulate the image of Temperantia, symbolizing restraint and spiritual balance
in an increasingly polarized world.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 20 / FORTITUDO — Crowned seated Fortitude with sword and laurel
Historical Note:1980 – The Fortitude of Poland:
Struck in Year 2.
As the Solidarity movement rose in the Pope’s native Poland, Fortitudo took on a powerful political resonance.
BBC correspondents noted how this virtue symbolized both moral courage and peaceful resistance.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 50 / IVSTITIA — Crowned seated Justice with sword and laurel
Historical Note:1980 – Justice in a Cold Climate:
Struck in Year 2.
During his 1980 UNESCO address, John Paul II emphasized the link between culture, justice, and human dignity.
Veroi’s classical depiction of Iustitia echoed this message of fairness and moral order.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 100 / PRVDENTIA — Prudence seated with mirror and diamond
Historical Note:1980 – The Mirror of Truth:
Struck in Year 2.
The mirror and diamond symbolize clarity of soul and discernment.
BBC reporting highlighted the Pope’s “prudent” diplomacy during his 1980 visit to Brazil,
making this virtue especially fitting.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 200 / PAX — Peace resting by a small olive tree
Historical Note:1980 – A Fragile Peace:
Struck in Year 2.
The resting figure of Pax suggests peace as a vulnerable state requiring constant care.
As Cold War tensions escalated, BBC commentary noted how this imagery reflected the Pope’s warnings
that peace must be actively nurtured.
Obverse:
IOANNES PAVLVS II P.M. A. II MCMLXXX — Bust of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 500 — Papal heraldic achievement (Wojtyła Arms)
Edge: +++ TOTVS TVVS +++ MCMLXXIX
Historical Note:1980 – The Heraldry of Devotion:
Struck in 0.835 silver.
A notable numismatic quirk: although dated 1980, many pieces retain the 1979 date on the edge inscription
due to the reuse of the original edge die.
This continuity symbolized the unchanging Marian devotion expressed in the motto Totus Tuus.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 10 — “Give Drink to the Thirsty” (Samaritan Woman at the Well)
Historical Note:1981 – Living Water:
Struck in Year 3 (A. III).
This design illustrates the encounter from John 4.
The BBC noted that “Giving Drink” aligned with the Pope’s humanitarian appeals
for the developing world during the early 1980s.
Veroi’s minimalist style captures the dialogue between the secular and the divine.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 20 — “Shelter the Traveler” (Christ at the Door)
Historical Note:1981 – The Open Door:
Struck in Year 3.
This Bronzital coin depicts Christ as a traveler seeking hospitality.
The BBC frequently described John Paul II as a “global pilgrim,”
and this theme of welcoming the stranger resonated strongly
during a year when the Vatican emphasized the plight of refugees.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 50 —
“Clothe the Naked, Visit the Sick and Imprisoned”
Historical Note:1981 – The Suffering Christ:
Struck in Year 3.
This stainless steel coin presents a triptych of suffering.
After the May 13 assassination attempt, the imagery became deeply resonant —
the BBC described the moment as a “global pause in breath.”
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 100 —
“Feed the Hungry” (Angel offering fish to Christ)
Historical Note:1981 – Sustaining the Faithful:
Struck in Year 3.
This design reflects the first Work of Mercy.
The BBC noted that the theme aligned with the Pope’s calls
for international famine relief.
Veroi’s imagery evokes the multiplication of loaves and fishes.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 200 —
“Bury the Dead” (The Entombment of Christ)
Historical Note:1981 – The Final Act of Mercy:
Struck in Year 3.
This Bronzital coin depicts Christ being carried to the tomb.
After the assassination attempt, the imagery took on a somber weight —
BBC commentary reflected on how close the world came
to seeing this final Work of Mercy performed for the Pope himself.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXI — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 500 — Papal heraldic achievement (Wojtyła Arms)
Edge: +++ TOTVS TVVS +++ MCMLXXXI
Historical Note:1981 – Totus Tuus Updated:
Unlike the previous year’s reused 1979 edge die,
the 1981 silver crown correctly matches the obverse date.
This coin marks the end of the Pope’s third year —
a year defined by survival and the beginning of his “second life,”
which he attributed to the protection of Our Lady of Fatima.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right (Manfrini)
Reverse:
PAX / CITTA' DEL VATICANO / L. 10 — “The Creation of Eve”
Historical Note:1982 – The Dawn of Humanity:
Struck in Year 4 (A. IV).
Manfrini’s 10 Lire depicts the biblical origin of the family.
During the Pope’s historic 1982 visit to Great Britain, the Vatican emphasized
the traditional foundations of human society.
The “PAX” legend provides a hopeful counterpoint to early‑1980s geopolitical tension.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
PAX / CITTA' DEL VATICANO / L. 20 — “Christian Marriage”
Historical Note:1982 – The Sacrament of Union:
Struck in Year 4.
This Bronzital coin depicts newlyweds receiving a blessing.
The Pope’s 1982 teachings emphasized the sanctity of marriage,
and Manfrini’s design—with the Holy Spirit overseeing the couple—
reflects the theology of the “Covenant of Love.”
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
CITTA' DEL VATICANO / L. 50 — “Motherhood” (Woman breastfeeding)
Historical Note:1982 – The Nurturing Church:
Struck in Year 4.
This Acmonital coin presents a naturalistic image of motherhood.
In 1982, the design was seen as a bold affirmation of the dignity of life,
aligning with the Pope’s increasingly vocal pro‑life message.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
PAX / CITTA' DEL VATICANO / L. 100 — “The Father as Protector” (Family scene)
Historical Note:1982 – The Family Portrait:
Struck in Year 4.
This completes Manfrini’s domestic triptych.
The father standing guard over mother and child echoes the “Josephite” role of protection,
a theme the Pope emphasized throughout 1982.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
CITTA' DEL VATICANO / L. 200 — “The Dignity of Labor” (Farmer with oxen)
Historical Note:1982 – Tilling the Earth:
Struck in Year 4.
This Bronzital coin depicts agrarian labor,
reflecting the Pope’s teachings on the relationship between man, work, and the land.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
CITTA' DEL VATICANO / L. 500 — “The Holy Family”
Edge: +++ TOTVS TVVS +++ MCMLXXXII
Historical Note:1982 – The Sacred Template:
Struck in 0.835 silver.
The Holy Family provides the divine archetype for the family scenes on the lower denominations.
After recovering from the 1981 attack, the Pope described his return
as a return to the “Family of the Church,”
making this silver issue symbolically powerful.
Obverse:
IOANNES PAVLVS II P.M. AN. IV MCMLXXXII — Bust of the Pope facing right
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement (Wojtyła Arms)
Edge: +++ TOTVS TVVS +++ MCMLXXXIV (or MCMLXXXII)
Historical Note:1982 – The Silver Successor:
Struck in 0.835 silver.
This 1000 Lire is a major Manfrini work,
featuring the Marian “M” beneath the cross.
The motto Totus Tuus had become globally recognized
as the Pope’s declaration of devotion to the Virgin Mary,
especially after his survival of the 1981 attack.
Mint: Rome — Silver 0.835
Artist: Enrico Manfrini
Engraver: G.M. Monassi
Weight: 14.6 g — Diameter: 31.4 mm
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left, clutching a Crucifix
Reverse:
CITTA' DEL VATICANO / L. 10 — “Christ Teaching the Boy” (The Dignity of Work)
Historical Note:1983 – The Year of Redemption:
Struck in Year 5 (A. V).
This aluminum coin marks the opening of the Extraordinary Holy Year.
Morelli’s design of Christ with a plow symbolizes the sanctification of daily labor—
a theme the Pope emphasized throughout the Jubilee.
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left, clutching a Crucifix
Reverse:
CITTA' DEL VATICANO / L. 20 — “The Annunciation”
Historical Note:1983 – The Angelic Salutation:
Struck in Year 5.
This Bronzital coin depicts the moment of the Incarnation.
The 1983 Holy Year was deeply rooted in Marian devotion.
Morelli captures the descent of the Holy Spirit as a dove,
linking redemption directly to Mary’s “Fiat.”
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left, clutching a Crucifix
Reverse:
CITTA' DEL VATICANO / L. 50 — “The Expulsion from Eden”
Historical Note:1983 – The Need for Redemption:
Struck in Year 5.
This stainless steel coin illustrates the Fall of Man.
The choice of Adam and Eve served as a stark reminder of Original Sin—
the very condition the Holy Year of Redemption sought to address.
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left with Crucifix staff
Reverse:
CITTA' DEL VATICANO / L. 100 — “The Hand of God and the Atom”
Historical Note:1983 – Faith and Science:
Struck in Year 5.
This Acmonital coin features the Hand of God offering an atomic structure—
a striking fusion of theology and modern physics.
It symbolizes the harmony between divine creation and scientific discovery.
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left with Crucifix staff
Reverse:
CITTA' DEL VATICANO / L. 200 — “The Creation of Man” (Modern Interpretation)
Historical Note:1983 – The Divine Spark:
Struck in Year 5.
This Bronzital coin offers a contemporary take on Michelangelo’s theme.
Instead of a direct touch, a human figure is suspended between the two hands of God—
a symbol of humanity’s dependence on divine life.
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope facing left with Crucifix staff
Reverse:
CITTA' DEL VATICANO / L. 500 — “God Forming the Universe”
Edge: +++ TOTVS TVVS +++ MCMLXXXIII
Historical Note:1983 – The Cosmic Architect:
This 0.835 silver crown shows the Hand of God within a sphere of cosmic lines,
representing the formation of the universe—
a fitting theme for the Holy Year of Redemption.
Obverse:
IOANNES PAVLVS II P.M. AN. V MCMLXXXIII — Pope standing left, raising the Papal Ferula
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement (Wojtyła Arms)
Edge: +++ TOTVS TVVS +++ MCMLXXXIV
Historical Note:1983 – The Extraordinary Jubilee:
Issued for the Holy Year of Redemption.
Morelli’s obverse captures the Pope raising the Crucifix staff as he did
when opening the Holy Door.
The reverse displays the Marian Cross—
the defining heraldic symbol of the Wojtyła pontificate.
Mint: Rome — Silver 0.835
Weight: 14.6 g — Diameter: 31.4 mm
Artist: Nicola Morelli
Engraver: G.M. Monassi
Obverse:
IOANNES PAVLVS II P.M. AN. VI MCMLXXXIV — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 10 — “Beatitude of Peace” (Sword into Sickle)
Historical Note:1984 – Swords into Plowshares:
Struck in Year 6 (A. VI).
Ennio Tesei illustrates the Beatitude “Blessed are the peacemakers” with a sword being reshaped into a harvesting tool,
echoing Vatican appeals for disarmament and the redirection of resources toward ending hunger.
Obverse:
IOANNES PAVLVS II P.M. AN. VI MCMLXXXIV — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 20 — “The Good Shepherd”
Historical Note:1984 – Pastoral Mercy:
Struck in Year 6.
The shepherd gazing toward a cross marked “PAX” reinforces the Church’s role as spiritual guide,
especially during debates surrounding Liberation Theology in 1984.
Obverse:
IOANNES PAVLVS II P.M. AN. VI MCMLXXXIV — Head of the Pope facing left
Reverse:
CITTA' DEL VATICANO / L. 50 — “Three Doves at the Fountain”
Historical Note:1984 – Purity and Peace:
Struck in Year 6.
Three doves drinking from a fountain symbolize souls refreshed by the Holy Spirit,
echoing the Beatitude “Blessed are the pure in heart.”
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXIV — Head left
Reverse:
PAX / CITTA' DEL VATICANO / L. 100 / R — Nimbate Lamb beside a cross
Historical Note:1984 – The Holy Year of Redemption Continues:
Though a low‑denomination issue, the 100 Lire reflects the Jubilee’s spiritual themes.
The Agnus Dei symbolizes sacrifice, peace, and redemption,
while the “PAX” inscription reinforces the Pope’s emphasis on reconciliation.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXIV — Head left
Reverse:
CITTA' DEL VATICANO / L. 200 — Sailboat sailing toward a cross
Historical Note:1984 – Navigating the Jubilee Theme:
The sailboat symbolizes the Church as the Barque of Peter,
journeying through history under Christ’s guidance —
a frequent metaphor in the Pope’s early pontificate.
Obverse:
IOANNES PAVLVS II P.M. AN. III MCMLXXXIV — Head left
Reverse:
CITTA' DEL VATICANO / L. 500 — Olive sprig within clasped hands
Historical Note:1984 – The Olive Branch of Reconciliation:
The clasped hands cradling an olive sprig symbolize peace, solidarity, and reconciliation —
central themes of the closing phase of the Extraordinary Jubilee.
Obverse:
IOANNES PAVLVS II P.M. A.V MCMLXXXIII — Head left
Reverse:
CITTA' DEL VATICANO / L. 1000 — Crowned bust holding the Pastoral
Edge: TOTVS TVVS +++ MCMLXXXIII
Historical Note:1984 – Continuation of the Jubilee Series:
Though the edge bears the 1983 date, this issue was struck and distributed in 1984.
Morelli’s crowned bust echoes the ceremonial imagery of the Holy Year of Redemption.
Obverse:
IOANNES PAVLVS II AN. IVBILAEI — Pope facing left, blessing
Reverse:
CITTA' DEL VATICANO / L. 1000 / R / ANNO SANTO 1983‑1984 — Papal heraldic achievement
Edge: TOTVS TVVS +++ AN. IVBILAEI
Historical Note:1983–1984 – The Jubilee Blessing Issue:
A special commemorative coin marking the two‑year span of the Extraordinary Jubilee of Redemption.
Manfrini’s design emphasizes the pastoral and spiritual dimension of the Holy Year.
This set commemorates the spreading of the Gospels.
Details
Pope
Image
John Paul II – 10 Lire (1985)
Obverse:
IOANNES PAVLVS II P.M. A.VII MCMLXXXV — Bust left
Reverse:
CITTA' DEL VATICANO / L. 10 — Angel holding the Gospel marked “Mt”
Historical Note:1985 – The Evangelist Motif:
The 10 Lire introduces the Gospel of Matthew, represented by an angel holding the sacred text.
Veroi’s design reflects the Pope’s emphasis on evangelization and renewed engagement with Scripture.
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Bust left
Reverse:
CITTA' DEL VATICANO / L. 20 — Stylized eagle holding the Gospel marked “Io”
Historical Note:1985 – The Eagle of St. John:
The eagle of St. John symbolizes the fourth Gospel.
Veroi’s design highlights the distinct voice of the evangelist and the Pope’s call for scriptural renewal.
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Bust left
Reverse:
CITTA' DEL VATICANO / L. 50 — Winged lion holding the Gospel marked “Mc”
Historical Note:1985 – The Lion of St. Mark:
The winged lion symbolizes the Gospel of Mark.
Veroi’s design reinforces the individuality of each evangelist and the Pope’s scriptural focus.
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Bust left
Reverse:
CITTA' DEL VATICANO / L. 100 — Airplane flying over world map
Historical Note:1985 – Mission to the World:
The airplane symbolizes global evangelization and the Pope’s increasingly international ministry.
By 1985, John Paul II was known worldwide as the “Pilgrim Pope.”
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Bust left
Reverse:
CITTA' DEL VATICANO / L. 200 — Winged bull holding the Gospel marked “Lc”
Historical Note:1985 – The Bull of St. Luke:
The winged bull symbolizes the Gospel of Luke.
This coin completes the evangelist‑themed circulating series of 1985.
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Head left
Reverse:
CITTA' DEL VATICANO / L. 500 — St. Peter on his boat on the Sea of Galilee
Historical Note:1985 – The Barque of Peter:
St. Peter navigating the waters symbolizes the Church’s mission and resilience.
A powerful biblical image frequently invoked by John Paul II.
Obverse:
IOANNES PAVLVS II P.M. AN.VII MCMLXXXV — Pope turned right, robes blowing, holding crucifix‑staff
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement
Edge: TOTVS TVVS +++ MCMLXXXV +++
Historical Note:1985 – A Dynamic Portrait of the Pilgrim Pope:
One of the most dynamic portraits of John Paul II, capturing his energetic, travel‑driven pontificate.
The reverse continues the heraldic tradition of Vatican silver issues.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 10 — Personification of the Church meditating on an open Gospel on an eagle‑shaped lectern
Historical Note:1986 – The Church in Contemplation:
Veroi depicts the Church personified, meditating on Scripture atop an eagle lectern (symbol of St. John).
This reflects John Paul II’s emphasis on deep spiritual reflection and scriptural study in the mid‑1980s.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 20 — Archangel Michael in military dress, palm branch and spear, standing over calf symbolizing idolatry
Historical Note:1986 – St. Michael and the Triumph Over Idolatry:
Veroi presents a dramatic depiction of St. Michael defeating idolatry.
The imagery reflects the Pope’s emphasis on moral clarity and spiritual combat in modern society.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 50 — Moses seated on rocks holding the tablets of the Ten Commandments
Historical Note:1986 – Moses and the Law of God:
Veroi’s solemn depiction of Moses emphasizes the enduring authority of divine law,
echoing the Pope’s teachings on moral clarity and fidelity to God’s covenant.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 100 — Christ, nimbate, preaching while seated on rocks
Historical Note:1986 – Christ the Teacher:
A serene depiction of Christ teaching, echoing the Sermon on the Mount.
Reflects the Pope’s focus on catechesis and doctrinal clarity.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 200 — Archangel Michael sheathing his sword
Historical Note:1986 – The Peace After the Battle:
A companion to the 20 Lire: here Michael sheaths his sword, symbolizing victory and restored harmony.
Reflects the Pope’s emphasis on reconciliation following conflict.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 500 — Christ blessing a cross, Mary seated at left
Historical Note:1986 – Christ, Mary, and the Cross:
A devotional scene emphasizing the unity of Christ’s mission and Mary’s witness,
reflecting the Pope’s strong Marian spirituality.
Obverse:
IOANNES PAVLVS II P.M. AN.VIII MCMLXXXVI — Pope seated on throne, speaking into microphone
Reverse:
CITTA' DEL VATICANO / L. 1000 — John Paul II speaking at microphone
Edge: TOTVS TVVS +++ MCMLXXXVI +++
Historical Note:1986 – The Communicator Pope:
Veroi captures John Paul II as a global communicator,
reflecting his extensive public addresses and use of modern media.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 10 / R — Michelangelo’s Pietà with St. Peter’s Basilica
Historical Note:1987 – The Pietà and the Heart of St. Peter’s:
Canevari places Michelangelo’s Pietà before the silhouette of St. Peter’s Basilica,
linking Renaissance devotion with the spiritual center of the modern Church.
The obverse continues the right‑facing portrait style introduced in 1986.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 20 — Mary being crowned by angels
Historical Note:1987 – The Coronation of Mary:
Canevari depicts the Coronation of the Virgin, tied to the Assumption and Mary’s Queenship.
The imagery reflects John Paul II’s strong Marian devotion.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 50 — Mary with outstretched arms before kneeling pilgrims
Historical Note:1987 – Mary, Mother of Pilgrims:
Mary welcomes eight kneeling pilgrims, symbolizing intercession and spiritual guidance.
The city skyline links the scene to the universal Church.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 100 — Archangel Gabriel with olive branch before seated Mary; dove above
Historical Note:1987 – The Annunciation:
Gabriel presents an olive branch to Mary, symbolizing peace and acceptance.
The dove represents the Holy Spirit, echoing Luke 1:26–38.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Bust left
Reverse:
CITTA' DEL VATICANO / L. 500 — Mary kneeling before Christ on the Cross
Historical Note:1987 – Mary at the Foot of the Cross:
A deeply emotional depiction of Mary witnessing the Passion,
reflecting John Paul II’s Marian theology.
Obverse:
IOANNES PAVLVS II P.M. AN.IX · MCMLXXXVII / A. CANEVARI — Pope kneeling before Madonna and Child
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement
Edge: TOTVS TVVS +++ MCMLXXXVII +++
Historical Note:1987 – The Pope in Prayer:
John Paul II kneels before the Madonna and Child,
emphasizing humility, devotion, and Marian spirituality.
The laurel bush symbolizes victory and eternal life.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 10 / R — The temptation of Adam and Eve with the Tree of Knowledge
Historical Note:1988 – The Fall of Humanity:
Veroi depicts the primordial moment of disobedience in Genesis, emphasizing free will, moral responsibility,
and the human need for redemption. The obverse continues the right‑facing portrait used since 1986.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 20 — Adam and Eve looking at the forbidden fruit; hands of God prohibiting/banishing
Historical Note:1988 – Divine Command and Human Freedom:
Veroi shows the tension between divine law and human freedom — a major theme in John Paul II’s moral theology.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 50 — Eve rising from Adam’s rib as God breathes life into her
Historical Note:1988 – The Creation of Woman:
Veroi illustrates Genesis 2:21–22, emphasizing complementarity and the divine origin of life —
themes central to John Paul II’s *Theology of the Body*.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 100 — Adam standing on the hand of God, naming the animals
Historical Note:1988 – Adam Naming the Animals:
Veroi emphasizes humanity’s stewardship of creation,
symbolized by Adam literally standing upon the hand of God.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII / A. CANEVARI — Bust right
Reverse:
CITTA' DEL VATICANO / L. 200 — God breathing life into Adam, kneeling on God’s cupped hands
Historical Note:1988 – The Creation of Adam:
Canevari depicts Genesis 2:7 with intimate symbolism:
Adam kneels on God’s hands as the divine breath gives him life.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 500 — The Trinity: Father, Son, and Holy Spirit (dove)
Historical Note:1988 – The Holy Trinity:
A rare numismatic depiction of the Trinity,
reflecting John Paul II’s emphasis on the unity of the divine persons.
Mint: Rome
Engraver: Guido Veroi
Reference: KM‑1211
John Paul II – 1000 Lire (1988)
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXVIII / A. CANEVARI — Pope signing an encyclical; Tablets of the Law; dove above
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement
Edge: TOTVS TVVS +++ MCMLXXXVIII +++
Historical Note:1988 – Teaching Authority of the Church:
Canevari depicts the Pope signing an encyclical,
symbolizing magisterial authority and continuity with divine revelation.
This set is dedicated to the work of the Lay Missionaries.
Details
Pope
Image
John Paul II – 10 Lire (1989)
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Bust 3/4 right
Reverse:
CITTA' DEL VATICANO / L. 10 / R — Christ preaching to a family; St. Peter’s Basilica behind
Historical Note:1989 – Christ the Teacher of Families:
Manfrini depicts Christ teaching a family, emphasizing the centrality of the family in Christian life —
a major theme of John Paul II’s pontificate.
The obverse introduces a new, more dynamic 3/4‑right portrait.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Bust 3/4 right
Reverse:
CITTA' DEL VATICANO / L. 20 — Family harvesting grapes
Historical Note:1989 – The Vineyard of the Lord:
A family harvesting grapes evokes biblical vineyard imagery —
symbolizing God’s people, spiritual labor, and the fruits of faith.
Manfrini highlights the dignity of work and family unity.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Bust right
Reverse:
CITTA' DEL VATICANO / L. 50 — People performing works of charity
Historical Note:1989 – Charity as the Heart of Christian Life:
Manfrini depicts service to the poor, echoing Christ’s call to care for “the least of these.”
The obverse continues the dynamic 3/4‑right portrait style.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Bust right
Reverse:
CITTA' DEL VATICANO / L. 100 — Pelican feeding its chicks; vineyard behind
Historical Note:1989 – The Pelican of Sacrifice:
The pelican symbolizes Christ’s sacrificial love and parental devotion.
The vineyard reinforces themes of spiritual nourishment and growth.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Bust right
Reverse:
CITTA' DEL VATICANO / L. 200 — Three workers: one at table, one carrying bricks, one sowing seed
Historical Note:1989 – Human Work and Christian Vocation:
Manfrini depicts intellectual, manual, and agricultural labor —
reflecting the dignity of work emphasized in *Laborem Exercens*.
Obverse:
IOANNES PAVLVS II P.M. AN.XI · MCMLXXXIX — Bust right
Reverse:
CITTA' DEL VATICANO / L. 500 — Grapevine
Historical Note:1989 – The Vine and the Church:
The grapevine symbolizes Christ the “true vine” and the Church as branches bearing fruit.
A theme of unity, nourishment, and sacramental grace.
Obverse:
IOANNES PAVLVS II P.M. AN.X · MCMLXXXIX — Pope speaking to clergy and worshippers
Reverse:
CITTA' DEL VATICANO / L. 1000 — Papal heraldic achievement
Edge: TOTVS TVVS +++ MCMLXXXIX +++
Historical Note:1989 – Shepherd of the Church:
Manfrini captures John Paul II addressing clergy and faithful,
reflecting his pastoral leadership and evangelizing mission.
This set commemorates Christianity and the New Europe.
Details
Pope
Image
John Paul II – 10 Lire (1990)
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / L. 10 — St. Peter and St. Paul embracing
Historical Note:1990 – Unity of the Apostles:
Canevari depicts Peter and Paul embracing, symbolizing reconciliation and shared apostolic foundation.
The obverse introduces a softer, reflective 3/4‑left portrait unique to 1990.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / L. 20 — Pope John Paul II with an Eastern Rite bishop
Historical Note:1990 – East and West in Dialogue:
The Pope stands with an Eastern Rite bishop, symbolizing ecumenical outreach and unity between East and West.
The obverse continues the 3/4‑left portrait style.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / L. 50 — Open door on rocky ground revealing radiant cross; Divine Triangle above
Historical Note:1990 – Christ the Light and the Way:
The open door symbolizes revelation and hope; the radiant cross represents salvation.
The Divine Triangle emphasizes the Trinity.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / R / ORA ET LABORA / L. 100 — St. Benedict with snake‑headed crosier and the Holy Rule
Historical Note:1990 – St. Benedict and the Rule of Life:
Benedict holds the *Regula Benedicti* and serpent‑headed crosier, symbolizing spiritual authority.
“Ora et Labora” reflects balanced Christian living.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / L. 200 / R — Standing figure of Mary and the Child
Historical Note:1990 – Mary and the Child:
A serene depiction of maternal protection and divine guidance,
reflecting John Paul II’s strong Marian devotion.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Bust 3/4 left
Reverse:
CITTA' DEL VATICANO / L. 500 / R — Christ flanked by kneeling Saints Cyril and Methodius
Historical Note:1990 – Apostles to the Slavs:
Cyril and Methodius kneel before Christ, symbolizing their evangelizing mission and cultural legacy.
John Paul II regarded them as bridges between East and West.
Obverse:
IOANNES PAVLVS II P.M. A.XII · MCMXC / A. CANEVARI — Pope holding radiant staff
Reverse:
CITTÀ DEL VATICANO / L. 1000 — Papal heraldic achievement
Edge: MCMXC +++ TOTVS TUUS +++
Historical Note:1990 – The Pope as Pastor and Teacher:
The radiant staff symbolizes spiritual authority and the light of Christ guiding the Church.
The reverse continues the heraldic tradition of Vatican silver issues.
This set commemorates the Encyclical Redemptoris Missio (“The Mission of the Redeemer”).
Details
Pope
Image
John Paul II – 10 Lire (1991)
Obverse:
IOANNES PAVLVS II P.M. A.XIII · MCMXCI / N. MORELLI — Bust left
Reverse:
CITTA' DEL VATICANO / L. 10 — St. Paul standing with book and sword
Historical Note:1991 – St. Paul the Missionary:
Morelli depicts St. Paul with his traditional attributes — the sword of the Spirit and the Scriptures —
reflecting the missionary theme of Redemptoris Missio.
The obverse introduces a new left‑facing portrait for 1991.
Obverse:
IOANNES PAVLVS II P.M. A.XIII · MCMXCI / N. MORELLI — Bust left
Reverse:
CITTA' DEL VATICANO / L. 20 — Crane and religious buildings under construction
Historical Note:1991 – Building the Church:
The crane and unfinished structures symbolize the Church’s ongoing mission of evangelization and renewal,
echoing the themes of Redemptoris Missio.
Obverse:
IOANNES PAVLVS II P.M. A.XIII · MCMXCI / N. MORELLI — Bust left
Reverse:
CITTA' DEL VATICANO / SACRAMENTA / L. 50 — Baptism scene
Historical Note:1991 – The Sacrament of Baptism:
Morelli depicts Baptism, the gateway to Christian life and the foundation of missionary identity.
“SACRAMENTA” highlights the sacramental basis of the Church’s mission.
Obverse:
IOANNES PAVLVS II P.M. A.XIII · MCMXCI / N. MORELLI — Bust left
Reverse:
CITTA' DEL VATICANO / R / VITA MORALIS / L. 100 — Risen Christ with cross
Historical Note:1991 – The Moral Life in Christ:
The Risen Christ symbolizes the foundation of Christian moral teaching.
“VITA MORALIS” reflects the Catechism’s emphasis on life in Christ.
Mint: Rome
Engraver: Nicola Morelli
Commemorates the Catechism of the Catholic Church.
Obverse:
IOANNES PAVLVS II P.M. A.XIII · MCMXCI / N. MORELLI — Bust left
Reverse:
CITTA' DEL VATICANO / MAN DATA / L. 200 / R — Christ extending His hand toward the world
Historical Note:1991 – Christ’s Mission to the World:
“MAN DATA” (“He has been sent”) reflects Christ’s mission and the Church’s call to evangelize all nations.
This set encourages preservation of the environment and good development.
Details
Pope
Image
John Paul II – 10 Lire (1992)
Obverse:
IOANNES PAVLVS II P.M. AN.XIV · MCMXCII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 10 — Bee on flower with stem intertwined with bare twig
Historical Note:1992 – Life, Fragility, and Renewal:
Giandomenico contrasts life (flower and bee) with decay (bare twig),
reflecting ecological responsibility and the fragility of creation.
Obverse:
IOANNES PAVLVS II P.M. AN.XIV · MCMXCII — Bust right
Reverse:
CITTA' DEL VATICANO / L. 50 — Cross as fulcrum balancing industry and agriculture
Historical Note:1992 – Faith Balancing the Modern World:
The cross balances industrial and agricultural symbols,
reflecting the need for moral guidance in development.
Obverse:
IOANNES PAVLVS II P.M. AN.XIV · MCMXCII — Bust right
Reverse:
CITTA' DEL VATICANO / R / L. 100 — Open book: cross & wheat (left), dove & olive branch (right)
Historical Note:1992 – The Catechism and the Gospel of Peace:
The open book symbolizes doctrine (cross and wheat) and peace (dove and olive branch).
Commemorates the forthcoming Catechism of the Catholic Church.
John Paul II – 500 Lire (1992, Columbus Commemorative)
Obverse:
IOANNES PAVLVS II P.M. AN.XIV · MCMXCII — Pope holding Pastoral Crucifix facing the Americas
Reverse:
CITTA' DEL VATICANO / L. 500 / R — Radiant cross over Europe sending rays toward three caravels
Edge: EXPLETO AB INITIA EVANGELIZATIONE AMERICAE V SAEC.
Historical Note:1992 – 500 Years of Evangelization in the Americas:
Contri commemorates the quincentenary of the first evangelization of the New World.
Issued separately in its own presentation case.
This set commemorates the Catechism of the Catholic Church.
Details
Pope
Image
John Paul II – 10 Lire (1993)
Obverse:
IOANNES PAVLVS II P.M. AN.XV · MCMXCIII / VEROI — Bust facing
Reverse:
CITTA' DEL VATICANO / L.10 — Ship
Historical Note: 1993 – Fidei Depositum:
Commemorates *Fidei Depositum* (1992), introducing the Catechism.
Veroi’s ship symbolizes the Barque of Peter carrying the deposit of faith.
Mint: Rome Engraver: Guido Veroi
Celebrates *Fidei Depositum* and the new Catechism.
Obverse:
IOANNES PAVLVS II P.M. AN.XV · MCMXCIII / VEROI — Bust left
Reverse:
CITTÀ DEL VATICANO / CATHOLICAE / ECCLESIAE / EXHIBETVR / R / L.1000 — Papal heraldic achievement
Historical Note: 1993 – “Exhibetur”: The Church Presents the Faith:
The Church “exhibits” the faith to the world, echoing the purpose of the Catechism.
This set is commemorating the Catechism of the Catholic Church.
Details
Pope
Image
John Paul II – 10 Lire (1994)
Obverse:
IOANNES PAVLVS II P.M. AN.XVI · MCMXCIV / A. CANEVARI — Bust left
Reverse:
CITTA' DEL VATICANO / L.10 — Man helping an African family plant a tree
Historical Note: 1994 – Solidarity and Human Development:
Canevari depicts assistance to developing communities, symbolizing hope, growth, and moral responsibility.
This set commemorates John Paul II’s encyclical letter Evangelium Vitae.
Details
Pope
Image
John Paul II – 10 Lire (1995)
Obverse:
IOANNES PAVLVS II P.M. AN.XVII · MCMXCV
(IOANNES PAVLVS II PONTIFEX MAXIMVS ANNUS XVII MCMXCV) — Bust left
Reverse:
CITTA' DEL VATICANO / L.10 — Christ preaching the Gospel
Historical Note: 1995 – Evangelization at the Heart of the Church:
Christ preaching symbolizes the Church’s mission to proclaim the Gospel.
Designed by Manfrini, engraved by Driutti, reflecting themes leading to the Jubilee 2000.
Obverse:
IOANNES PAVLVS II P.M. AN.XVII · MCMXCV
(IOANNES PAVLVS II PONTIFEX MAXIMVS ANNUS XVII MCMXCV) — Bust left
Reverse:
CITTA' DEL VATICANO / L.20 — Resurrection of Lazarus
Historical Note: 1995 – Christ the Lord of Life:
The raising of Lazarus symbolizes Christ’s authority over life and death —
a central theme of Evangelium Vitae.
Obverse:
IOANNES PAVLVS II P.M. AN.XVII · MCMXCV
(IOANNES PAVLVS II PONTIFEX MAXIMVS ANNUS XVII MCMXCV) — Bust left
Reverse:
CITTA' DEL VATICANO / L.50 — Dragon over prone woman
Historical Note: 1995 – A Dramatic Allegory Against Abortion:
The dragon symbolizes evil attacking vulnerable life —
a direct moral warning aligned with Evangelium Vitae.
Obverse:
IOANNES PAVLVS II P.M. AN.XVII · MCMXCV
(IOANNES PAVLVS II PONTIFEX MAXIMVS ANNUS XVII MCMXCV) — Bust left
Reverse:
CITTÀ DEL VATICANO / L.1000 — Madonna and Child holding the Church; dragon beneath
Historical Note: 1995 – Mary, Mother of the Church:
Mary protects the Church and crushes evil — one of the most symbolically rich reverses of the decade.
Historical Note: 1996 – Hope Emerging from Hardship:
Rossi depicts a mother and child fleeing darkness toward light —
a symbol of protection, dignity, and resilience.
Obverse:
IOANNES PAVLVS II P.M. A.XVIII · MCMXCVI — Bust left
Reverse:
CITTÀ DEL VATICANO / L.1000 — Christ with arms outstretched toward two children
Edge:
TOTVS TVVS +++ MCMXCVI +++
Historical Note: 1996 – Christ Welcoming the Little Ones:
Christ’s embrace symbolizes love, protection, and the centrality of children in Christian teaching.
Obverse:
IOANNES PAVLVS II P.M. AN.XIX · MCMXCVII — Bust right
Reverse:
CITTA' DEL VATICANO / L.10 / G. TITOTTO / R / L. DE SIMONI INC. —
Angel playing horn; pilgrim sowing seeds
Historical Note: 1997 – Proclaiming and Sowing the Word:
Titotto depicts proclamation (angel with horn) and evangelization (pilgrim sowing seeds)
as the Church approached the Jubilee 2000.
Mint: Rome Designer: Gabriella Titotto Engraver: Luciana De Simoni
Obverse:
IOANNES PAVLVS II P.M. AN.XIX · MCMXCVII —
John Paul II extending olive branches toward youth
Reverse:
CITTÀ DEL VATICANO / L.1000 — Father embracing Prodigal Son
Edge:
TOTVS TVVS +++ MCMXCVII +++
Historical Note: 1997 – Mercy and Reconciliation:
One of the most expressive Vatican reverses of the decade —
the Prodigal Son symbolizes forgiveness and divine mercy.
Mint: Rome Designer: Gabriella Titotto Engraver: Luciana De Simoni
Obverse:
IOANNES PAVLVS II P.M. AN.XX · MCMXCVIII — Bust right holding pastoral within sun rays
Reverse:
CITTA' DEL VATICANO / L.10 — Peace standing with olive branch; two seated figures holding hands
Historical Note: 1998 – Peace as a Unifying Force:
Borghi depicts Peace personified, joining two figures in reconciliation as the millennium approached.
Mint: Rome Designer: Paolo Borghi Engraver: Luciana De Simoni
Obverse:
IOANNES PAVLVS II P.M. AN.XXI · MCMXCIX — Bust right
Reverse:
CITTA' DEL VATICANO / L.10 / R — Minimalist reverse (no central motif)
Historical Note: 1999 – The Final Lira Series:
The 1999 coins are unique: their reverses contain no imagery, only denomination and mint marks —
a minimalist design marking the transition toward the euro.
Every 25 years the Vatican celebrates a Jubilee (Holy Year).
The Great Jubilee of 2000 focused on the blessing of children.
The tradition began with Pope Boniface VIII in the 1300s;
extraordinary Jubilees may also be proclaimed for special events.
Details
Pope
Image
John Paul II – 10 Lire (2000)
Obverse:
IOANNES PAVLVS II P.M. A.XXII · IVB.MM —
John Paul II raising a child in both hands
Reverse:
CITTÀ DEL VATICANO / L.10 / R — Papal heraldic achievement
Historical Note: 2000 – The Great Jubilee Begins:
The Pope lifting a child symbolizes renewal, hope, and the centrality of youth.
Bonanotte’s modern style marks a new artistic direction for Jubilee coinage.
Mint: Rome Designer: Cecco Bonanotte Engraver: Laura Bedetti
 1 Quattrino Rome mint.jpg)
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 1 Quattrino Gubbio mint B.2316 KM68.jpg)
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