The ancient monetary production of the Iberian Peninsula and of southern France is ordered in MIB by mints, that is from those cities which struck their own currency. The same approach has been used consistently in all reference numismatic catalogs on the subject since the nineteenth century. Most of these series were produced in the context of the Roman conquest of Hispania and Gaul, under the different cultural traditions Greek, Punic, Roman, Iberian, or Celtic, with the common denominator that cities were largely responsible for issues.
All numismatic catalogues benefit from the advances made by previous works. In the case of MIB, the classification of the types of each mint in many cases maintains the proposals made in the monographic studies of mints and in the reference catalogue of Villaronga CNH (1994), slightly updated in its new version ACIP (2011).
As regards how to reference a coin with the MIB catalogue, since in MIB each of the mints presents its types numbered sequentially from the number 1, it is advisable to mention the mint to establish a precise reference, in numerical or text form (e.g. MIB 1/78 or MIB Emporion 78). However, these numbers are not a permanent reference to the catalog entries, as they can change over time. For this purpose, the ID type number is added to each entry. This is the MIB permalink for any reference to the catalog
The search for references can be carried out by using filters which allow many searches to be selected, topographical, typological, chronological, etc.
Characterization of types and variants
The types group together coins of the same value showing similar designs and legends. Quite often the engravers have not been systematic in drawing up the designs and legends, which produced slight differences in the coins that do not justify, in our opinion, the establishment of different types.
Accordingly, in this catalogue a numerical entry corresponds to the standard concept, and it is defined by the sum of the documented variations, which are listed by letters (a, b, c, ...). This organization is useful for recognizing the level of systematization of different emissions and better assessing their production volume.
The criteria for defining types have been formal, based on substantial changes in figures and legends, but also chronological when series are documented that keep their designs unchanged over time. In these cases, it is necessary to establish differentiated production periods, for which the information provided by the hoards is crucial.
Variations that involve a change in orientation of the main elements such as figures, whether portraits, horsemen or dolphins, have been individualized as different types, although it is not always certain that they may be due to decisions taken by the authorities. In fact, it is sometimes certain that we are faced with a distraction of the engraver, but since it is not always easy to recognize it, because many types have only one or two dies, we have preferred that it has its own input number.
The variation in style has also led to the creation of a separate entry, although formally the designs remain essentially the same and maintain the same legends. There are quite a few mints which kept the same formal designs throughout their different stages of monetary production, which could be carried out intermittently for a century or more; the Bolskan denarii is a paradigmatic case. In such cases, only a detailed study of the coins and their comparison with other productions makes it possible to establish a relative chronological sequence and isolate the various typological units and their periods of minting.
Where variations in the detail of coins are due to inconsistencies by the engraver, such as errors in the position of signs or minor alterations, such as carrying the legend on or under it, these are described within a single type, when the consistency of style allows. In these cases, the variations are identified by letters. Thus, for example, the Belikiom 1a variant is characterized by having the legend
and the variant 1b 
; in this case, we consider that the second one is a consequence of an error of the engraver who recorded the inverted ki sign and which cannot generate a new type number, because it is a formal variation with no significance in the productive sphere.The concept of emission
The types as defined in MIb do not necessarily correspond to the concept of issue. By issue we mean a minting, which may consist of one or more denominations, promoted by the competent authority, and programmed as a unitary act; after time it can be repeated constituting a new issue.
Sometimes it is easy to identify issues, understood as a programmed production of one or more denominations and commissioned to an engraver / workshop. In these cases, the different denominations have been described correlatively, following an order from highest to lowest value.
We have tried to be systematic and consistent in applying the requirements of the standard concept, without losing sight of the role that this database must play as a tool for cataloguing and studying the coins within it.
Coins sorted
The set of coins that form part of each type or variant is ultimately its definition and therefore occupies a central place in each of the entries, even beyond the accuracy of their descriptions. In this context, the types must display their coins in an orderly and controlled manner according to criteria adjusted to the singularities of each entry. The task of manually sorting coins within each type is an additional effort in compiling the catalogue, but it provides the researcher with the necessary control to present the material according to reasoned criteria that are considered appropriate in each case.
The description of each type in Numisdata includes by default a gallery that automatically shows the images of their coins next to those of all those types that have been established as equivalents. In the MIB catalogue it was decided that each type should present, whenever possible, four galleries under the headings identification, museums, auctions and collections. The first serves to establish the main image of the type and the remaining three are limited to offering the parts grouped under the most common categories of origin of the parts. Within each of them, the coins can also be moved freely to place them in the desired order. While in some rare types all the documented coins have been incorporated into the galleries, in many others only a selection of the material available in the system has been transferred to them. The COINS section currently includes around 100,000 Iberian coins; approximately half of these have been selected and ordered to form the 13,100 galleries that serve to date to illustrate the types that make up the MIB catalogue.
The chronology
The dating of issues and types is one of the aspects that presents more uncertainties, especially the bronze coinages, because the number of hoards that also contain Roman coins in this alloy is not abundant.
The dates proposed in this database have considered the chronology provided by the treasures and camps of Numancia and Cáceres el Viejo. In addition, the iconography, style, and findings with archaeological context have also been valued. All the evidence suggests that there were itinerant workshops or engravers, which makes it possible to approximate in time the types sharing a similar style and to date them when the date ante quem for one of them is known. Archaeological information has also been considered, although in rare cases it is decisive.
The proposed time ranges are to be understood as the time frame within which the types described below were issued.
Design description criteria
In the type description process, a number of considerations have been followed to determine whether an object depicted next to a main figure should be considered as part of it or whether it should be conceived as a symbol. In those cases where the objects are clearly associated with the accompanying figure, they have been considered to be part of it. This association can be determined by physical proximity or by elements that conventionally identify deities or mythical characters. Epigraphic letters or signs have been considered to be part of the legends, although they may sometimes have played the role of a symbol identifying people or broadcasts, as was the case with the Kese broadcasts.
The order of the symbol description always follows the same pattern, clockwise; it starts on the left side of the coin and continues to the right, describing what is seen above, before, and below. The symbols that are arranged on different levels are described as they are sequenced from top to bottom.
Description criteria for legends
The legends are described in the scripts used by the coins. The Greek and Latin scripts have been reproduced using Unicode sources and almost all characters have been represented; in contrast, the legends written on Phoenician-Punic and Paleohispanic signs (northern, southern and southwestern Iberian) are represented by drawings in format svg, from ttf fonts, designed for use in print formats and for use in a local environment.
The coin legends are transcribed according to the most logical reading order, especially when they have a unitary meaning. When several words appear on the same face, a series of conventions are followed to indicate their position in the coin field. The location of the legend above and below the figures is indicated by a tilted bar (/); when the legend path is interrupted but continues later it is indicated by a dash (-).
The special circumstances in which the legend is presented (e.g., between lines or within a frame) are described in a specific annotation next to the legend. As for the heading of the legend, it has sometimes been appropriate to indicate it as an element of distinction from other subtypes or monetary rates that are part of the same group.
The punctuation marks used in the legends are described in all cases, as they are deliberate marks that provide information about cutting words or abbreviations. In cases where the points have no grammatical function, they are considered marks or symbols, either of value or with other meaning. In any case, the ancient coins of the Iberian Peninsula did not use long Latin legends and punctuation marks are not common.
The following conventions have been used to describe the legends:
___ a line underlining two or more letters documents the links.
[ ] inside the brackets is identified the restored part of the legend