THE
TYPES OF GREEK COINS AN ARCHAEOLOGICAL ESSAY
BY
PERCY GARDNER,
M.A.,
F.S.A.,
BRITISH MUSEUM;
DISNEY PROFESSOll OF ARCHAEOLOGY IN THE UNIVERSITY OF CAMBRIDGE;
LATE FELLO^V OF CHRIST'S COLLEGE.
DECADRACHM OF AGRIGENTUM.
CAMBRIDGE:
AT THE UNIVERSITY 1883
PRESS.
PREFACE. This book contains the substance of twelve lectures delivered
Cambridge in the Lent term of 1882. It is primarily addressed to students of Greek archaeology, for whom I have tried to extract at
from the results of numismatic of special interest and use to
men who
study of Greek artistic remains, but
them
such parts as
research
may be
have begun the serious
whose time does not allow
to enter into the details of numismatics.
With
this
view
have
I
Museum and some
British
coins
sentative
and
and discussed
in
the
especially on the
except in the brief
reading-book of Greek as
and
ology':
more
is
shewn at
art,
for
same time
the
repre-
These are
text;
not from
of mythological
'
Historical Introduction.' like
I
an elementary
which purpose coins are especially
headed
in the chapter
the
of
of
and metrological discussions
Historical
style.
side
have endeavoured thus to produce something
fitted,
number
devices.
artistic
I have avoided,
other collections a
cabinets
or
point of view, but
interest
the
bearing interesting types
reproduced in the plates every
from
selected
to
'
Coin-types and Archae-
render numismatic
testimony
familiar to archaeologists.
The task has not been easy, for in spite of the works of numismatists who were also archaeologists such as Leake, Millingen, and some men now living, numismatics has hitherto been very imperco-ordinated
fectly
Few
archaeological
access fully
many
with
collections
to
understood: cases
remains.
I
other
writers
of
branches
have
coins
had
without
of classical
the
free
which
archaeology.
and
these
continual
cannot
numismatic writers on the other hand have
be in
had a very imperfect knowledge of other classes of merely state a general rule, to which there have
PREFACE.
vi
Ijeen
on
chapters
and so
lent,
far
Professor Overbeck, with the
late
Dr Imhoof-Blumer, has
invaluable aid of
mythologie
Of
exceptions.
brilliant
coins
which
they go leave
as
are
little
Kunstmythologie advances but slowly
;
inserted
be desired.
to
in
Kimst-
his
complete as excel-
as
and
in
it
But the
coins are arranged
and not with reference to period. I on the contrary have adopted that scheme of arrangement under periods and districts Avhich has already been used in the British Museum under their
Guide
to
subjects,
Ancient Corns; only that
manner from
a different
Thus
in
spite
of the
pages, to
much
classes
will
be
distributed
are
Mr Head
that adopted by
labours of
ences to whose works
my
many valued
in the
in
Guide.
predecessors, refer-
found at the foot of most of
my had
yet remained to be done, and I frequently have
break new ground ;— sometimes a dangerous venture.
A
full
discussion of the multitudinous types in the plates and
a comparison of them with other treatments of the same subjects in
sculpture
of
immense
and painting would have required the accumulation material and the production of a very voluminous
work, which would have been necessarily clumsy and arranged in
inconvenient order.
This course being out of the question, I was
obliged to adopt the only alternative, which consisted in practising great
caution
statement of
and facts,
excluding mere theories, and only occasionally
referring to
monuments
obliged
stop
to
myself in most cases to a
reticence, confining
of other classes.
on the threshold
their fuller discussion
of
would have led
Thus
I
have often been
interesting
me
too far
subjects,
when
away from the
immediate subject. have had kind assistance in reading proofs from Mr Poole, Mr Head, and Mr Wroth and the excellence of my plates is due to the care and skill of Mr Sawyer of the Autotype Company. I
:
PERCY GAPvDNER. British Museum, January, 1883.
CONTENTS Historical Introduction.
I.
CHAP. I.
PArjK
Origin and Spread of Coinage. Origin of coinage.
Gold
coins.
Pheidon.
Phocaea.
of
Euboic,
stanclai'ds,
Ptcforms
Babylonic and Phoenician.
Early electrum
Introduction of coinairo into
of Croesus.
Greece.
.............
Aeginetan, Attic, and Corinthian standards.
and Cyrene
Italy, Sicily, II.
Monetary
Adoption of coinage in 1
International cuerencies among the Greeks.
The Trapezitae and their functions. Darics. Coins Ehodian money. Coins of Philip and
and Corinth.
of Aegina, Athens,
Cyzicene staters.
of Alexander.
Cistophori
.
11
IIL
Die-Cutting and Coin-Stamping
17
IV.
Coin-Tnscpjptions
22
V.
Rights of Coinage Coins of
VI.
cities,
temples, kings, leagues
Monetary Alliances. League in
South
Greek Leagues
later
PI.
Coins
Italy.
of
Himera and
Joint
Mother-cities and Colonies.
PL
issues
electrum
of
staters
Thurium.
Corinthian
Massilia and Velia.
of
parlants.
t^pes
Choice
of
31
Abdera.
Athenian
Corcyrean colonies,
86
Coins.
Keligious Character of Coin-types,
•
Pcligious meaning of
Origin of coinage in temples.
types
in
Corinth, Thebes, EliSj E^^hesus, Syracuse.
Agonistic types.
types.
Succession
Greece.
of
types
at
Introduction of portraits on coins
So-
Athens,
.
.
.
.
,
-11
Monetary Symbols or Adjuncts. Signature of coins by magistrates.
III.
colonies.
The Types of Greek
11.
11.
undei-
Coins
.,...,.,.,......
colonies
called
and hectae.
xyj.
Occasional retention of metropolitan types in colonies.
I.
Confederation
of Cyrene.
..............
Messana and Ehegium.
26
xvi.
League of Cnidus.
Timoleon.
VII.
.............. .........
Distinction between types and symbols
53
Coin-types and Archaeology. Coins compared with other monuments.
Their disadvantages for purposes of archaeo-
Their advantages.
by region and period.
logical study.
testimony
;
metrological
numismatic art
;
data
adaptation
;
of
Classification of coins
fabric
;
epigraphy
design to
sculpture; symbolical nature of types;
field,
;
evidence
of
hoards.
precluding servile
continual variation
.
copy .
Historical
Principles
of
works
of
of .
.
.
^6
CONTENTS.
VIU
Art and Mythology of Coin-types.
III.
PAGE
CHAP. I.
Explanation of Plates, Principles of arrangement
11.
.... .... 1— U
76
Archaic Period; early Copies of statues. Earliest types.
PI.
PL xv. 1—17, 28—29 m. 9, 19, 20, 26; iv. 7—9,
PL I. 1—12 Sicily. PL II. Hellas. PL iii. 1-8, 10—18, 21—25, Asia Minor. PL iv. 1—6, 10—12, 14
Italy.
III.
72
.
90
27
96
.
Sicily.
PL PL
V.
vi.
1—27 1—34
113 118
119
.
124
—
PL vii. 1 27 PL viii. 1 30 Asia Minor. PL x. 1 21 Copies of statues. PL xv. 19, 30 Northern Greece.
Peloponnesus.
—
y.
—
132 135
.
142 146
Period of Finest Art; late Italy. Sicily.
PL PL
147
28—45 vi. 35—40
148
V.
PL
Northern Greece. Peloponnesus.
PL
28
vii.
viiL 31
151
—48
152
—44
PL ix. 1—25 PL ix. 26—36 Asia Minor. PL x. 22—50 Copies of statues. PL xv. 20,
156
Crete.
Cyrene.
VI.
Period of Decline
early
Period of Decline; late
.
—
Index of Classes Plates
.
21,
23—27,
31
176 179 181
184 186 193 195 197
198
PL XI. 34—40 Sicily. PL xi. 41—46 Hellas. PL xii. 34—53 Asia Minor. PL xiii. 14 35 The East. PL xiv. 13—34 Italy.
Index of Subjects
167
169
....
PL XI. 1—20 Sicily. PL xl 21—33 Hellas. PL xii. 1—33 Asia Minor. PL xiii. 1—13 The East. PL xiv. 1—12 Copies of statues. PL xv. 32 Italy.
VII.
160
.
;
99 109
Period of Finest Art; early Italy.
98
104
II.
.
IV.
82 89
15—42 Hellas. PL in. 28—53 Asia Minor. PL iv. 19—44 PL
15—18
84
Later Archaic period; or period of Transition Italy. PL I. 13—36 Sicily.
77 13,
198 200 201
204 208 213 218
HISTOEICAL INTKODUCTION.
'
,
CHAPTER L Origin and Spread of Coinage.
Pollux, all
the
that
in
his
information
chapter
valuable
down
handed
on coins
from
us
to
strike coins.
Some, he
says, ascribed
some
the
some
Pheidon,
to
antiquity on the subject,
Naxians,
to
than Pollux, better even than
to determine the respective claims of
We
Of the
nation or
weight
it
are
Demodice,
able now, better
of his prmcipal authorities,
The Naxians
these pretenders.
issued coin early, but both in type and
Aegina.
king of Argos, some to
who was one
Aristotle,
first
says
the invention to the Athenians,
Phrygian Midas, some to the Lydians.
of the
earlier
contains nearly
fact
in
was among the Greeks a disputed point which was the
it
prince to
wife
which
^,
is
only a copy of
certainly
that of
coinage of Athens no specimens which have reached us are of
date than the reforms of Solon, about
B.C.
560,
and
it
is
almost certain
Midas we can only The Lydians and say that we do not know of any early Phrygian coinage. Pheidon, king of Argos, remain, and the claims of both to the invention of
that there were
coins
in Greece
before
As
that time.
to
coinage are supported by grave authorities.
Let us
first
consider
invention of coinage.'
A
what coin
precise
meaning
of course,
is,
is
to be attached to the phrase
a lump of any precious metal of
and stamped with the mark of some authority which guarantees The so-called leathern the weight and fineness of the coin, and so its value. fixed weight,
money
of the Carthaginians, if
not of metal China,
is
invented
;
a
lump of gold
not a coin, because
we know on ^
it
it
ever existed, did not consist of coins, because
or is
silver,
such as
still
constitutes
not stamped by authority.
currency in
Before coins were
the sure authority of the wall paintings of Egypt that
Translated, with notes, in the
Numismatic Chronicle
for 1881, p. 282.
HISTORICAL INTRODUCTION.
2
there was in Western Asia a currency passing from
gold
or
of
silver
proper the
place
defined weight,
these
of
by bars
tradition^ taken
In
Greece
stamped.
was
metal
precious
of
rings of
probably not
though
rings
hand to hand of
or spits {o^ektcrKofj of bronze
or
according It
iron.
to
the
probable,
is
Lydia and the coasts of Asia Minor small bars or lumps of electrum were in use. Electrum, white gold as Herodotus calls it, is a mixture of gold and silver which is found in the bed of the Pactolus and other rivers of Western Asia, and which the Greeks supposed to be a separate metal, reckoned by them at about three-fourths of the value of gold, and about
though not
certain, that
ten times that of
were
silver.
in
Thus, as Syrian rings, Greek obelisks, and Lydian pellets
adjusted to a fixed weight,
all
before the intro-
for long
likely that
is
it
Western Asia and even Greece were made not so much by the clumsy method of weighing the precious metals as The ofiicial stamp was by counting out a certain number of units of value. all that was required to make coin. It has been disputed among modern numismatists and metrologists what duction of
nation
coinage
proper,
purchases
took this capital
first
in
Their arguments are based partly on the
step.
apparent antiquity in fabric and type of the coins which reach us from various' districts
of the
In the former matter
Levant, partly on metrological grounds.
any trained eye can judge with some degree
of accuracy, only
we must remember
that some districts of the Levant were at every period more advanced in the
matter of art than others.
In antiquity as in
The metrological argument enter upon it here.
move than Europe.
all is
times Asia was
so
slower
to
complicated that I cannot
'
venture to
-
The writers of the greatest authority have come to the opinion that the earliest coins are Asiatic, and that it is probably to the Lydians that we must give the credit of their production.
This agrees with the testimony of Herodotus^:
AvBoi
tS/xcz^,
But the
i^TjcravTo, silver,
dv0pd)7Tcov,
TTpojTOL
—
this
in
TOJp
earliest
T^/xet?
Lydian
Herodotus seems to
were
coins
be
-^vcrov KOI
j'o/xtcT/Lta
mistaken,
made
not
—but
dpyvpov either
of that
KoxjjdixepoL
of
gold
or
electrum which
was at the time the current metal in Lydia, the white gold of which I have already spoken, and which Croesus presented in such quantities to the Delphic
About the seventh century,
temple^.
Lydia
and
rose
under the
prosperity,
Miletus.
It
is
began to mint cities of
dynasty
of
after
the
of
fall
the Assyrian
the Mermnadae to a high pitch of
and ruled Western Asia Minor up
to
power the gates of Ephesus and
during this flourishing period of their history that the Lydians coins,
and the invention was
at
once
adopted
by the Ionian
the coast, by Miletus, Abydos, Clazomenae, Samos and the
arose an electrum coinage current over '
empire,
Plutarch, Lysander, 17.
all
rest.
the Asiatic side of the Levant.
M.
94.
^
Herod,
r.
50.
Hence
AND SPREAD OF COINAGE.
ORIGIN
S
necessary to say a few words as to the monetary standard followed
It is
by these
There were, as nearly as we can make out, at the thne of
coins ^.
Western Asia for the weighing of the precious metals of which standards one was applied to gold and the remaining two to silver. The weight universally used for gold had
the
invention
of
coinage,
standards
three
use
in
in
;
a
unit
This
130
of
was
unit
ancestor of
the
part
sixtieth
the
of
weighing
for
than
heavier
grains
1
English
our
Babylonic
lighter
And
Greek gold coins whatever.
all
sometimes used
also
about
grains,
sovereign.
and
mina,
lineal
same unit of 130 grains was
this
But there was an awkwardness about
silver.
The relation in value of gold to silver in Asia generally waSj as we knoAV from the testimony of Herodotus^, 13 to 1.
in Persian times
Brandis
would
this.
on
maintain,
inductive
grounds,
expressed by the relation
accurately
that
13^ to
relation
this
40 to
or
1
A
13
or
silver,
bars,
both had
if
have
the
relative
brought into more easy and convenient could only be done by means
making the bars
Now 13
of
that metal
a
of
1
is
that
it
is
weight from
different
of
gold.
for
the
silver,
bars
bars
of
silver
of
weight
the
and
130 grains at the rate of
169
of
bars
of gold.
1690 grains; and the tenth of this weight being, 169 grains,
if
of
evident that this
new standard
a
bars
13-^
gold and silver
of
And
relations.
introducing
of
values
the value in silver of a bar of gold weighing
to
clear
same weight,
the
of
may
or
As gold and sUver
on the other supposition, would have gone against one
naturally arose to
desire
made
been
more
be
may
This
3.
not be the case, but anyhow the proportion was awkward. circulated in
Mommsen and
were
grains
in
it
use
is
for
currency, ten of these would exactly pass as equivalent to one bar of gold of 130
And
grains.
of silver is
called
happened;
this actually
was adopted
in
169 grains as the normal weight of a bar
Mesopotamia and the inland parts of Asia Minor.
by Brandis the Babylonian
ten silver bars minted according to
it
silver
standard or
ten-stater
standai-d,
It as
passed for one of gold.
But meantime in Phoenicia another mode of bringing bars of gold and silver In that region the gold bars or rings of fixed into relations had been adopted. weight which were in circulation seem to have been usually double, that is^ to ^
The
history
UntersK^chungen eri'ors
of
first
Greek
weights was a
introduced
which have since been corrected.
Assyria introduced a
chaos
until
time
the
order and method into the subject
new epoch
in
The discovery and
the discussion,
of ;
of inscribed it
has
Boeckh.
but he
fell
His
Metrologische
into
certain grave
weights by Sir H. Layard in
now been
clearly
made out that The standard
monetary standards save the Aeginetan come from Nineveh and Babylon.
Greek works on Greek metrology are all
Mommsen
GescJiichte
des
now
R'dmischen
the
following
Milnzwesens
:
— Hultsch,
(translated
Metrologie
into
French)
and :
Metrologici
Brandis,
Graeci
Bas Munz-
Mass- und Gewichts-wesen in Vorderasien his aitf Alexander den Grossen. An excellent resume by Mr B. Y. Head in the Jonrncd of the Bankers^ Institute, and his Coinage of Lydia and Persia. '
III.
89.
1—2
HISTORICAL INTEODUCTION.
4
Now a gold bar of 260 grains was have weighed 260 grains instead of 130. Now the equivalent in silver, at the same rate of 13 to 1, to 3380 grains. tenth of this, 338 grains, was rather too heavy a weight to be convenient, so In this way they reached the Phoenicians took, instead of a tenth, a fifteenth. This unit was spread far and or about 22^4 grains. for silver a unit of
^,
wide by the Phoenicians in the
was issued the Phoenician or Graeco-Asiatic, and standard, because under it fifteen bars of silver went
system on which
called the
Brandis
expeditions.
trading
of their
course
it
sometimes the fifteen-stater for one of gold.
We
reach, then, the
gold unit of 130 grains
were
use
in
early
{£1.
and a
8d.)
Is.
224 grains
Now
it
169 grains
unit of
9d.y
{is,
grains
260
gold
for
(£2.
and
id.)
35.
for
Ad.).
{2s,
remarkable fact
a
is
silver
the 7th century before our era; and at the same time
in
in Phoenicia the standard units were silver
In Mesopotamia and Asia Minor a
following results.
almost
that
early electrum
the
all
of
coins
Lydia and Ionia are minted not on the gold but on the silver standards. And this fact is not inexjDlicable. Electrum, although merely a mixture of gold and silver,
was regarded by the ancients
And
variety of gold. as
tenfold that
not
far
from
three-fourths
truth,
of gold
bars at
reason to believe that they estimated
the
as
better
and one-fourth of
of
Thus,
silver.
an
value
this
being in fact
does
contam about
of gold,
electrum
its
electrum coin of the
silver
hand
for either
three-fourths
which would have been
of silver,
sort
valuable
less
would pass current for exactly ten of those bars. If electrum had been struck on the gold standard, one bar
weight of a bar of
would have passed
is
and three-fourths of that
of silver,
the
on the other
there
somewhat
a peculiar and
as
of
far
ten
less
or
for
three-fourths of fifteen
And
convenient.
here
we
get
once a reason, not only for the minting of electrum on the silver standard,
but also
for the choice of
convenient
have
to
as
electrum for purposes of coining.
medium
exchange
of
weight, exactly ten times the value of
not well adapted for any other
silver.
purpose
It
was so extremely
metal which was,
a
weight
for
Moreover, electrum being hard and
except for a
medium
of exchange,
it
danger of being melted down when issued in pellets of fixed weight, than would either gold or silver. The bars of gold and silver were
would be so
in
less
continually cut up, melted and remoulded,
stamp them
that
it
did not seem worth while
but electrum, once stamped, might be expected to pass from hand to hand uninjured for a long time. Thus we reach an explanation of the fact that electrum was chosen for the earliest coins, and a reason to
why
for
the Lydians,
^
circulation
;
who had almost
Reckoning
silver at the old
a monopoly of electrum,
normal rate of
five shillings
which was found
an ounce.
AND SPREAD OF
ORIGIN nowhere
so freely as in
Phoenician
direction of
and the
both on the Babylonian
has with
Babylonian weight were
of
art
any other valuable system or device.
minted
is
Mr Head
standard.
silver
the pieces
Lydia
electrum of
early
5
Lydia\ should have been the inventors of the wondrous
of coinage, whereas they originated scarcely
The
COINAGE.
intended
Mesopotamia and the old Hittite
the
for
trade
inland
of Cai^chemish,
city
that
conjectured^
probability
the
in
and those of
Phoenician weight intended for the trade along the coast and with the islands.
At any rate it may be regarded as reasonably certain that the two standards made their way into Lydia thus, the one by land from Babylon, the other by way of the sea from Phoenicia. The Phoenician standard no doubt reached from
Greek
soon as they
of
the
coast,
began striking money of electrum, used
this
standard almost exclusively.
Sardis
have
the
great
another
here
cities
testimony to
interesting
these,
for
as
commercial
the
Greeks adopted
weights of gQld and
the
proofs that they learned from
The
only rival
Asia
in
them the in
and
From them
of Cyrus,
it
the
the surest of
art of commerce.
the Lydian
of
and
Ionian
was in a high state of wealth on
took to issuing gold pieces
It
one of
the
For half a century before the destruction
by Harpagus, the general
prosperity.
and
pre-Persian times
electrum was the gold of Phocaea. of this city
secrets
silver,
of
activity
Phoenicians in the Levant in the pre-historic ages of Greece. Asiatic
We
the
double or heavy gold.
standard of about 260 grains, which circulated widely in the early part of the sixth century B.C., and in some places even superseded the Milesian electrum.
This brings us
down
and powerful Croesus, who For some reason unknown
to the days of the wealthy
introduced a complete reform of the Lydian coinage.
he abolished the issue of electrum, and reintroduced a currency of gold and silver, or rather substituted gold and silver coins for the bars of those us
to
metals, which were probably
about 130 grains, and his both
in
cases
still
in frequent
the Babylonic
about
pieces
silver
rather
cii-culation.
than
168
His gold coins weigh
grains;
the Phoenician.
his
And
denomination^ introduced by him dominated the coinage of Persians destroyed his kingdom his plentiful coin continued to is
still
dug up
Darius, in coins,
his
in large quantities in the
reorganization of
great
called after
him
darics,
the same weight as the also
sigli,
or
for
Asia.
ages the
After the
circulate,
and
it
neighbourhood of his capital of Sardis.
the Persian empire,
ro^oTat,
standard being
issued Persian
gold
from their type of a royal archer, of
Croesean staters
:
and the Persian
silver
coins,
called
were of almost precisely half the weight (86 against 168 grains) of
the
Croesean
and
sigli
silver pieces.
Until the times of Alexanders conquests the darics
constituted the basis of
the whole Asiatic coinage, and exercised, in
2apSea)v r/XcKTpov, Sophocl. Antig.
^
Tov
^
Coinage of Lydia and Persia^
TTjOOS
p.
11.
1.
1038.
HISTORICAL INTRODUCTION.
6
the form of
There
of Greece.
far
bribes,
great
too
however
is
this
and pernicious an influence on tbe difierence to be noted between the
politics
issue
of
While the great King did not allow any interference with his monopoly of issuing gold coin, whether by cities or individuals, he on the other hand allowed silver on the standard of the siglos to be issued by Greek cities within his dominions, and even by his Satraps when
gold and that of silver in Persia.
engaged on military expeditions,
But
it
is
i
the
time to pursue
To do
the sea to Greece proper.
the invention of
of
history
we must return
so
an
to
coinage across
time than
earlier
Athens had as yet scanty promise of the greatness to which she was one day to attain.
given
In
Darius.
that of
She was
still
our
seventh century before
the
Megara the
disputing with
lordship
era
the
of
island
of
Salamis,
The greatest commercial cities of Greece in that age were Aeglna and Corinth, and Chalcis and Eretria in Euboea. Corinth had already begun to dominate the western sea, Chalcis had planted a multitude of Hellenic cities on the Macedonian coast, the j^eople of Aegina were the traffickers and pedlers of all Peloponnese. We shall find, as might and neither Pisistratus nor Solon had
indeed have been expected, that a
In Greece
coinage.
sufficient
reason that
hand,
abundant,
the
is
normal
and
all
especially
of
of
of
districts
of
cities
all
electrum
of
Silver,
the very
for
on
the
Epirus and Thrace.
Greece
Asiatic
proper
style
still
in
is
other
Thus silver.
extant which
some hesitation to Thrace, Aegina and Euboea. But such they ever existed soon came to an end, and Greece proper, until the
days of Philip of coinage
Macedon
and
the
as
we have
have been the
he struck
league,
silver
ments with the
regular
money fact
Ephorus, as quoted by Strabo^, says that island of Aegina. Herodotus s^tes that he
in
the
the Peloponnese.
policy,
and obscurity.
state-
us are the Aeginetan coins bearing the
have usually concluded that who introduced into Greece the custom of issuing coin. his
Coupling these
the most abundant and early-looking of the archaic
that
tortoise, writers
of Pheidon,
of Argos,
to issue coin.
first
which have come down to
silver coins
difficulty
no
possessed
many supposed Pheidon, king
seen, says that
regulated the weights and measures of
type of a
Chalcidian
gold or electrum.
in
Pollux,
his
deeds,
and even
The statements
his
a comprehensible character with a definite '
vni.
date,
it
was Pheidon of Argos But the whole history
are matters
of various writers
character are entirely inconsistent one with another.
him
electrum,
attributed with
issues if
to
coinage
found in Greece.
certain
in
coinage
original
no
is
not
is
There are indeed a few pieces of are
these cities preceded Athens in the use of
proper there
electrum
arisen.
p.
358.
Prof.
as to
of extreme
his
age and
Ernst Curtius has made
anti-Dorian policy, but
it
may
be
AND SPEEAD OF
OKIGIN
much doubted whether this
very
the sober facts of history.
one Pheidon.
COINAGE.
hriUiant writer has
7
not gone somewhat beyond
Several writers have supposed that there was more than
In order to
ourselves
restrict
within narrow limits I will pass by
the fascinating discussion as to the political tendencies of Pheidon^ and mention
only one
or
reached us.
two of the most The first of these
definite is
statements
as
to
his
which have
acts
the assertion of the trustworthy
Pausanias
that he presided^ with the assistance of the Pisatae, at the eighth Olympian cele-
This would
bration.
make
his
middle of the eighth century
among the
age,
according
The next
B.C.
to
the
common
the assertion of Herodotus^ that
is
suitors of Agariste, daughter of Cleisthenes of Sicyon,
son
Argos, the
of Pheidon, that
the
reckoning,
was Leocedes of
Pheidon (adds Herodotus) who regulated the
weights and measures of Peloponnesus, and was the most impious of the Greeks,
and who,
expelling
Now
festival.
about B.C. 600
we
shall
than
earlier
with
drift
the
authorities
the
Eleian
Agonothetae,
himself
celebrated the
Olympian
the date of Cleisthenes can be with reasonable certainty fixed at
— 570. into
this,
Therefore
Herodotus may be trusted, and
if
he cannot
unlimited scepticism, the true date of Pheidon was a
say about 620
statement
if
— 600
Pausanias.
of
by assuming that
B.C.
This
is
Weissenborn^
little
evidently quite irreconcilable
has
tried
to
reconcile
the
was the 28th and not the 8th Olympiad which conjecture is purely arbitrary and would have been it
Pheidon celebrated, but this unworthy of mention had it not been followed by Curtius.
have introduced this brief discussion of the date of Pheidon because
I is
important
if
we wish
it
to fix the date of the introduction of coinage into Europe.
And it is imseems most likely that this was the work of Pheidon. portant to observe that all the evidence which can be gathered from coins themWe have no reason to selves is in favour of the Herodotean date of Pheidon. believe that even the Lydians minted coin at an earlier date than the beginning of For
it
the seventh century, and the invention was not likely to be at once adopted in Europe. Further, as we shall presently see, none of the extant coins of Athens
than the legislation of Solon, about B.C. 596, and it is not likely that the Athenians would be more than 30 or 40 years behind For these other cities in the adoption of so useful an art as that of coiinng. and for other reasons we must maintain that the ruler who first introduced coins into Europe, and who was probably Pheidon of Argos, cannot have flourished are of an
earlier period
than the beginning of the sixth century B.C. Contemporary with the issue of coins at Aegina were the issues from the
much
earlier
mints of Euboea and Corinth. And all these three places or districts had coinstandards of their own, as to which we must say a few words. The Aeginetan, Euboic and Corinthian standards are the three in use in historical times in 1
yi,
127.
"
A
full discussion of tlie subject in Philologus,
Yols. xxvni. xxix.
HISTOKICAL INTKODUCTION,
g
The
Greece, Italy and Sicily.
that
learn
introduced
was
it
Aeginetan standard
origin of the
doubtfal.
is
by Pheidon, who regulated the weights
ponnese, but the question whence he obtained
it
We
of Pelo-
remains in spite of discussions
weighed about 196 grains, rather more than tw^o of our of 98 grains, each of which conshillings, and was divided into two drachms The Euboic standard was identical tained six obols of about 16 grains each. Its stater^
obscure.
still
m
with that
use for gold
the unit or stater weighing
in Asia,
130 grains, the
drachm 65, and the obol 11. The ordinary student of archaeology wall scarcely find it profitable to give time and attention to the subject of monetary standards, as it is too perplexed and
for
intricate
much
any but
I
specialists.
avoid speaking of them as
will here
But nevertheless we should not do
as possible.
justice
the
to
historical
part of our subject unless something were said about a few of the chief monetary systems.
I
must therefore very
recount
briefly
Euboic and Aeginetan systems of weight, as a
thrown on some aspects of Greek history. The Aeginetan system, which we may
the
history
light
in
Greece of the
probably be thereby
will
Greek heavy system of weight, spread rapidly over the whole of Peloponnese and Northern Greece while the Euboic, which may be termed the light Greek system of weight, was Then there arose at at first confined to Euboea, Samos and other islands. Athens a conflict between the two, the issue whereof is Corinth and at interesting. The result of the conflict at Corinth w^as the adoption of the the
call
Euboic unit, the Corinthian stater being of 130 grains weight in the earlier period.
But
in order probably to facilitate intercourse
with the neighbouring states which
held to the Aeginetan standard the people of Corinth divided their stater, not like
the Euboeans into two drachms, but into three drachms of 45-40 grains each, which
Thus the Corinthian
apparently at a later period passed as Aeginetan hemidrachms. coins,
while they could pass current as didrachms in countries
scale,
might pass as a drachm and a half
At Athens
also,
standard was in use
Athenians
the
that
;
took
such
a
Aeginetan drachm or
was the
and, curious as at
that
dislike obol,
time
lawgiver, as Plutarch informs ^
Gr.
tlie
o-rarvfjo,
dollar in America. '
Pollux
IX.
76.
standard
or
it
may
tortoise,
that
they
would
of
is
yet more than probable
their
money
own, to
but used the
which they
after-
the
name
heavy drachm or oboP.
This
not
even
mention
of the legislation of Solon.
us, introduced,
coin
it
the very
the phrase
the time
principal
appear,
had no coins
but used
of matters at
state
countries using the Aeginetan.
towards the beginning of the sixth century, the Aeginetan'
Aeginetan money marked with a
wards
in
using the Euboic
among
of a mintage,
That great
his other refoi'ms, a as
the
sovereign in
measure
England, the
ORIGIN AND SPREAD OF COINAGE. for the relief of debtors.
His plan was this
to issue
:
9
new drachms
considerably
than those which had hitherto been in use, and to ordain that debts contracted under the old system of drachms should be discharged by means of the new, the debtors thus making a considerable saving. The relation between the old and the new drachm was, according to Plutarch, as 100 to 73;
lighter
that
is
to say that
73 of the
gain to the debtors being
amounted
cally
27
old drachms were
of the
made
new drachms
100
into
new
But
per cent.
ones, the
this practi-
up the Aeginetan for the Euboic standard; the new Solonic standard, which was thenceforth known as the Attic, being very nearly to giving
equivalent to the Euboic.
The
between the staters of the Attic and the Euboic standard is indeed about five grains, the Attic didrachm weighing about 135 and the Euboic, as we have seen, about 130 grains. Why Solon did not go a very little further in his reduction and make his new stater exactly equivalent to the
recognized scale reasons for
we cannot
Euboic
greater relief to
still
difference
But there can
of weight.
come down
the Euboic level, the
to
The
curious
of
staters
time of Solon, or a in
accepted a generally
be no doubt that he had
of course
doing exactly as he did, though at this distance of time
One
fixed.
doing he would have given
so
and at the same time
the debtors,
recover them.
he
By
say.
of his px-oceeding
was
Euboic standard
this
rose
:
to
would not the level which
as he
Euboea, Corinth and other places shew just at the later,
little
order, probably, to
effect
we cannot
a slight but distinctly perceptible rise in weight,
bring them on terms with the
money
of
the
now
rapidly
rising city of Athens.
Most of the larger Greek islands followed during the sixth century the lead of Euboea and Aegina in issuing coins. But only a few of the wealthier and more commercially inclined of Greek cities on the mainland began so early as 550. Many wealthy cities, such as Pharsalus and Pherae in Thessaly and Elis not begin to mint until after the Persian wars.
in Peloponnese, apparently did
Indeed there were whole of their
coins
own
districts,
such as Aetolia and Epirus, which had no
until the days of
Alexander the Great
Doris which never had an autonomous coinage at
all.
the issues of more wealthy and enterprising neighbours
Meantime the invention had passed on exactly
people
it
followed
of Phocaea
with them\
we in
cannot
be
Ionia sailed
And more
sure.
to
to Italy
We
;
and others such as
In such cases no doubt filled
and
the gap.
Sicily.
know however
What that
course
when the
and founded Velia, they took their
Italy
any with the types of Velia are certain incuse coins of Southern Italy, which were mostly of Achaean colonies. We possess coins of Siris and Sybaris in Magna Graecia, both of which cities were 510 B.C. But that these coins were issued shortly before destroyed about 530 coins
archaic
than
—
'
G.
See below,
ch.
vii.
2
HISTORICAL INTRODUCTION.
10
the
destruction
the
of
which
cities
them we
struck
assuming^ and the extreme rarity of those of Siris
having
been
issued
a
over
long
period
of
every reason
have
for
an argument against their
is
Nor
time.
do
Sirine
either
or
Sybarite pieces shew any marks of an earlier and a later issue, or of progressive perfection
in
workmanship and
Magna
great cities of
art.
It
then reasonable to suppose that the
is
money
Graecia did not begin to strike
of the sixth century.
All these cities issued
staters
The
might have been
coins of Sicily are not, as
earliest
In this matter Syracuse
Syracuse.
seems to have been
— 120
Naxos and
two
in fabric like those of Southern Italy
cities issued coins
Already
Zancle.
But Syracuse soon
of an Aeginetan drachm.
in
exj^ected, those of
less
Chalcidian neighbours,
the
forward than her
sixth century these
and of the weight
The coinage
485.
beginning
of
the
likely to be far
those of Sicily to
but
interval,
until the
Rhegium
century
fifth
while that city
earlier,
of
still
;
bore the
name
On
of Zancle.
the whole
Romans
somewhat
we
are not
possessed a coinage in copper
fourth century, and coins in silver did not issue from
But the Greek
269.
Messene
neighbouring
the
wrong in giving the earliest coins of Italy to the middle, and the end of the sixth century. Etruria followed the lead at no long does not appear that the
it
j)eriod before
with the rule of Anaxilatis in the
begins
that of
Mr Head^
Sicily.
though with hesitation, some few coins of Syracuse to the
assigns,
her mint
followed, introducing in
the Attic standard, which thenceforth prevails universally in
B.C.
130
weighing about
which seem to follow the Corinthian standard \
grains,
B.C.
before the middle
colonies of the west,
Roman
mints until
though they began their issues of
coin later than the mother-country, soon outstripped
it
in the variety, the
beauty
and the universality of their coins. And in this as in other matters Asia, which was the first to light the torch of discovery and improvement, carried it with slower steps to the goal than the less richly
On
the Southern shores
of
the
endowed
Mediterranean the
adopted the invention of coinage was not mercial Carthage, but Gyrene. of the
the
Gyrenaica under the
beginning
of
the
Very rule
sixth
of
districts of
the
civilized
Europe.
country which
Egypt, nor
earliest
the
com-
flourishing in early times
was the kingdom
As
early probably as
its
Battiad princes.
century there were
issued in this district rude which followed the Euboic or Attic standard, and in fabric resemble the early pieces of such islands as Geos and Aegina. The non-Hellenic reo-ions of North Africa were at all events in the matter of coinage far behind Gyrene. silver coins
Egypt used only the regal money of Persia and Garthage seems only to have learned the
until
the time of
the Ptolemies,
art of coinage from the
Greeks of 400; borrowing indeed not only the idea of money, but even the types she impressed on it. Sicily
about
B.C.
' '
Mommsen,
R.
M.
p.
106.
^
Coinage of Sijramse,
CHAPTER
II.
International curkencies among the Greeks.
To
of Greek money from the first to the last days of Greek independence \rould be a task of enormous complication and difficulty. The history of the comage of every city runs on parallel to the pohtical history of that city, sometimes illustrating, sometimes confirming, sometimes decidmg between contending accounts, now and then casting a grave doubt on the tale trace
history
tlie
us by historians.
delivered
The very idea
of such a history could only take its
quite lately, for until lately the dates of coins and even their local attribu-
rise
had not been determined with sufficient accuracy. In our time it has become a possibility, and the monetary history of a few cities has akeady been sketched in a tentative manner. Brandis has "written a most able and elaborate work on the coinage of Asia Minor during the Persian Empire and Mommsen
tions
;
has given us a philosophical treatise on
A
both before and after the Ptoman conquest. is
yet to come.
It is obvious
occupy too much space without
many most
history
the
of
monetary history of Greece proper
that the merest outline of such a history would
the present occasion, nor could
for
Italy
the coinages of
it
in fact be written
I will therefore confine myself to a
laborious investigations.
few general observations. All Greek cities of any importance jealously guarded silver
and copper money.
who came
to traffic with
the local
coin.
them the
and not merely
incommensurable, the
have been considerable. difficulties
so
time spent
Perhaps the
trapezitae,
of exchange
which existed
in
all
making payments in frequently mmted theh money on
necessity of taking and cities
on standards which appear to
but even in haggling
over
race
in
would have been large
money and
prices
must
Greeks even enjoyed this haggling with
the love of bargaining which marked the
But the
issuing
doubtless they rigorously imposed upon merchants
As even neighbouring
different standards,
us
And
theii^ privilege of
cities.
These
ancient
as
endless,
but
in
modern
for
the
times.
class
men performed some
of
of the
The earliest and most essential part modern banker. of their business, however, was to act as money-changers, to value the miscellaneous stocks of coins which were continually pouring into the markets and simpler functions of the
2—2
HISTOKICAL INTRODUCTION.
12
to
money of the country or some other coin which keep by them for this purpose a considerable stock
give in exchange either the
was
Having
demand.
in
and
of gold
silver
to
they came in time to
fulfil
money on mortgages and bottomry and
lend
the functions
of
deposits
at
receive
capitalists,
to
But
interest.
the nucleus of their business was always the changing of money.
On be
the tables of the trapezitae on
some
found
of
classes
which
coins
were
public
in
demand
some degree the ftmctions of a common Hellenic coinage.
in
fulfilled
special
the shores of the Aegean were to
all
one of these kinds of
specie
would form a measure of value
and
Probably the various
in
by which the values of their respective issues could be easily .tested and reckoned up. Thus if at Delos a Persian gold Daric passed for 26 Attic drachms and 35 Samian drachms, evidently an Attic drachm would there be equivalent cities
Samian drachms, excluding the
to 1-^
cix-cumstances of supply
arise of special agios according to
I
question which would
no doubt
often
and demand.
have assumed the Persian Daric as a generally-current standard of value,
was
many
and at various periods, more especially m eai-ly times. This is evident from the way in which Herodotus speaks of and there was in Greece a saying about it under the title to^ott^?, the Daric which shews that it was familiar to the Greeks, more especially to such as and
so
it
in
parts of the Levant
;
were not unopen to a
bribe.
was in value nearly equivalent to a sovereign
It
The multitude of these pieces in and of very convenient size and shape. lation may be judged from the statement of Herodotus^ that a private
circuindi-
vidual,
Pythius the Lydian, possessed in the reign of Xerxes four millions
them.
The
value,
silver pieces of
the same type as
the Persian shekels of
enormous numbers
dug up
fairly
in
Persia,
proves.
about as
86
the Darics, but
grains weight, were
the quantity of
These regal Persian
them
still
of about
likewise
from
-^ the
issued
in
time to time
both in gold and
coins,
of
silver,
Avere
through the greater part of Asia the main bulk of the currency until the fall of and even in the Greek cities of Asia Minor they were the Persian Empire ;
probably in the place of a coinage
common
to
all,
to
which
all
the issues of the
had to be adapted. In Greek proper during the centuiy before the Peloponnesian war the coins in widest circulation were those of Aegina, Athens and Corinth. Of these were commonly composed the hoards of the wealthy, and in these were paid cities
,
sums when
sums had to be
have already mentioned the relative values of the staters of these three great commercial cities. Those of Corinth weighed 135, those of Aegina 196, those of Ath ens 270 grains. In large
large
paid.
I
reckoning by Attic drachms of 67 grains, these sets of staters might well This is however entirely matter of conjecture. as 2, 3 and 4 units. Our '
vii.
28.
pass chief
INTEKNATIONAL CUREENCIES AMONG THE GREEKS. authority,
Pollux,
two
gives
and Aeginetan drachms.
values of the Attic
statements
quite inconsistent
as
In one place
13
the
to
relative
he says that the
^
Aeginetan obol was ^J^th of the Corinthian stater or Attic didrachm which would make the Aeginetan drachm lyth Attic drachms but in another place ^ that ;
;
the Aeginetan drachm was
Ifrds of an Attic drachm.
probable that
between Aeginetan and Attic drachms varied from
place
to
the
on
the
The Corinthian equivalent
were largely
staters
of copper,
litrae
the Corinthian
current
on
also
in
Sicily,
the
coast
The Aeginetan
gulf.
ever further
The mines
spread.
and
further
the
as
on
weight.
the
where they passed as of
Acarnania,
were,
staters
and the
the
until
The Athenian pure silver
of
the Athenian mint paid great heed to the purity of coins issued from
shrank from any alteration in type or weight which might make them acceptable.
known on
Hence they became all
Thrace, and
even the
common
extent they offered a coinage to barbarians and a
In
fact, in
far East,
the Aegean Sea, after Aegina had
fallen,
shew
it,
and
less generally
money
in the course of the fifth century the
shores of the Aegean, and in our day frequent finds
coins in Egypt, Asia Minor,
faU of
power and commerce of Athens
Laurium furnished an abundant supply
of
would
relation
Aegina, the ordinary currency of Peloponnesus and the Cyclades. coin spread
extremely
in fact
depend
money-changers,
neutral
of
is
But the normal
circumstances.
to
tables
ten
to
of
shores
according
place
naturally,
relation
It
best
of Athenian to
how
large
coinage to Hellenes.
and the course of Corin-
thian conmierce had turned persistently towards the West, Athens had but two rivals
among Greek
cities
whose
issues
of
in
coins
any way approached
hers
For reasons, some of which we The first of these was Cyzicus. can trace, though doubtless others can no longer be found, the issue of electrum coins by the Greek cities of the coast of Asia Minor had greatly fallen off. Several of them, notably Phocaea and Mytilene, still issued in the fifth century in
extent.
small pieces of
electrum called hectae or
but the issue of electrum staters of
full
weighing about forty grains
sixths,
weight
-^had fallen
almost entirely into
the hands of the people of Cyzicus. The Cyzicene staters are still abundant and On the obverse they bear well known to all students of Greek numismatics. a great variety
mark
of
of
types,
supplemented
mint.
the Cyzicene
in
Their reverse
all is
cases
by the
tunny
a mere incuse-square.
fish,
the
Several
specimens figure in our plates.
modern days for interest and beauty, Cyzicene In the treasure-lists of staters were in old Greek days still more renowned. Athens, still preserved in the British Museum and elsewhere, they are freWe find such mention^ in the Lygdamis inscription from quently mentioned.
But however
celebrated in
'
^
IV.
'
174.
These passages are collected by
Mr
Head,
JS/um.
IX.
76.
Chronicle, 1876, pp. 293 sqq.
HISTORICAL INTRODUCTION.
14
(about B.C.
Halicarnassus
Works
at
Athens
412 and 406)
Xenophon'
(b.c.
also
;
m
the accounts of the Superintendents
445),
434),
and the
treasure-lists (b.c. 429,
Timasion a Cyzicene stater a month as pay; Cyzicenes
were
current
in
day on
his
415,
writers.
Cyrus were offered by
us that the mercenaries of the younger
tells
418, 416,
Demosthenes and other
of Lysias,
speeches
the
422,
Public
of
and Demosthenes mentions' that Black
of the
the shores
We
Sea.
have then ample evidence that Cyzicene electrum formed a kind of international currency in the Levant in conjunction with the gold of Persia and the silver of Athens.
Also in the earlier part of the fourth century,
when the
fortunes of Athens
were at a low ebb, she suffered something as well in the spread of her currency as
in
her Bosphoric
Ehodes were
from
the rise
as
And
stater
Not that the
coins
of
Alexanders days, so plentiful and so univerthose of Athens. Nevertheless they had wide circulation and
the best proof
is
this
:
the Rhodians introduced into the monetary
world about B.C. 400 a new standard for the
of PJiodes.
ever, until long after
sally accepted influence.
trade
or tetrad rachm
interesting and important
of which
them the Rhodian,
grains,
was adopted
and
in
it
is
an
a short time,
and Samos, but even in Aenns and Byzantium. This shews that
in Asia, such
comparatively distant regions, such as
called after
weighed about 240
fact that this standard
near them
not only in places
coins,
as
Caria
the Bhodian drachm had wide currency before the middle of the fourth century,
though the great
titne
of E^hodes
However Macedon, the
was yet to come.
source of the Hellenization of the ancient world,
also the cause of the adoption of comparatively uniform
was
systems of coinage among
Greeks, and of the spread of Greek monetary systems over the world.
Philip
The gold with which he is said to have won more cities than he conquered by his arms was issued from the active Macedonian mints in the form of didrachms of Attic weight, which soon became in the West of the began the work.
Mediterranean aU that the Persian Darics were in the East, which passed as a universal currency in Greece and Italy and were imitated by rude Celtic tribes in Pannonia, Gaul and Britain. This process of imitation went on for centuries after Philip's death.
But on the shores of the Aegean and in Asia the gold staters of Philip were soon succeeded and disj^laced by those of Alexander. Enormous as had been the quantity of gold obtained by Phihp from his Thracian mines, amountinoit is said to some £2,000,000 a year, the treasures won by Alexander in the great cities of Persia were of immeasurably greater amount. The hoards which the Persian kings
and
had laboriously accumulated Alexander put into circulation, generals on his death squandered them profusely so that the mountain
his
;
'
^^^^'
^-
6-
23.
^
c.
FhoTin. 34, 23.
INTERNATIONAL CURRENCIES AMONG THE GREEKS. and
of gold
silver
Ecbatana to
the
—Alexander
extent of
said
is
to
£40,000,000
have
precious metals at
stored the
— spread
over
15
held
lands
all
by the
The mints which the Greeks set up in Asia might probably be numbered by thousands, and enough gold and silver flowed into Europe to set And almost all in motion the mints of all towns in Macedon and Hellas. these issued, either in conjunction with their own coins or in the place of them, money bearing the name and the types of the great conqueror. Thus a world-wide coinage arose, of which the Greeks of Bactria, of Egypt and of the Peloponnese alike made use in fact it is still a matter of the greatest difficulty Greeks.
;
to discern the differences between
of Alexander issued respectively in dis-
coins
thousands of miles apart from one another.
tricts
It has been said,
and
Alexander's achievements except from coins, to prove
him the
universality
had we no knowledge of
as I think with justice, that
greatest
who
civilizer
we should yet have
ever lived.
and the universal uniformity
of his
And
sufficient evidence
it
coin which
not
is
only the
comes in evidence,
but also his masterly treatment of issues of gold and silver in relation to one Hitherto in almost all countries gold and silver had been minted on another. different standards with a
of silver pieces.
the relation
13
view to making one gold piece pass
Gold bore to to
1.
silver in value, it will
for a
be remembered, in early times
Thus, while the Persian Daric weighed
Persian siglos or silver shekel weighed about 86, in order that
^ of a 135
Daric.
grains,
the
And
weight of the
Alexander broke away from this
is
it
130 grains, the
might be worth
weighed nearly stater was fixed at somewhat below 230
in the coinage of Philip, while the gold stater
grains in order that 15 of these
silver
round number
silver
latter rule,
on the Attic standard only.
should pass for two gold staters.
and struck
What may
not possible to say with certainty.
It
may
all his
money both
in gold
Now and
have been his exact motives
it
be that the old relation in value
between the two metals of 13 to 1 had begun to fluctuate: in fact we know that silver about the time of Alexander became more valuable in proportion to Or it may be that the wide circulation and universal acceptance which gold.
had been attained by the
silver coins
of Athens, both in Asia and -Europe, in-
duced AJexander to issue his silver staters of the same weight as those of Athens. But whatever his motives may have been, there can be little doubt of the happy Henceforth there was in all the Greek world a results of his arrangements. normal or standard weight for the precious metals, recognized even in those cities which preserved in minting their former standards. And henceforth fluctuations the relative value of gold and silver introduced no disorder or inconvenience drachms passed for into trade; when the relation stood at 12 to 1, twelve silver in
one of gold, when the relation was at 10 to
No
doubt
it
was asserted
1,
ten passed in the place of twelve.
or implied in contracts
whether payments under them
HISTORICAL INTRODUCTION.
16
were to be made in gold or as to exchanges
would
in silver
;
and
no
this being once understood
difficulty
arise.
All the successors of Alexander, excepting only the Ptolemaic Kings of Egypt,
adhered to the same Attic standard alike
for
gold and their
their
silver.
Thus
Macedon, in Syria and in Bactria, this weight remained the usual and important one. No doubt in spite of this many cities retained their accustomed
in
weight.
Miletus adhered stiU to the Persian, Tyre and Sidon to the Phoenician,
Corinth to the Corinthian standard.
These however were
local.
The- only non-
regal coinage of the Macedonian age which requires notice in this brief is
The Rhodian drachm was at first only by a few grains than the Attic, but it fell in weight somewhat rapidly, and about the It is probably this drachm c. 250 scarcely weighed more than 50 grains.
that of
lighter
year
b.
Rhodes.
which was the unit of the celebrated coinage of in
the
large quantities in the cities of Asia
Roman
Republic.
And
so-called Cistophori, coins issued
Minor under the Pergamene Kings and
the Rhodian and Cistophoric drachm
is
as being at one time the basis of the coinage of almost all the world.
the second century B.C.,
Roman
summary
when
it
was almost universally current
in
noteworthy
For during Asia,
the
Victoriatus and the Illyrian drachm, which also weighed about 50 grains,
were the units of calculation in Italy and the west a practically uniform coinage being thus set up in all the basm of the Mediterranean. ;
T.
CHAPTER
r
'
^
III.
Die-Cutting and Coin-Stamping.
The
'
'
:
by the Greeks for coins were those which have been favourites in all ages. The coins represented in the plates are in four metals only, (1) gold, (2) electrum, a mixture in various proportions of gold and silver, The use of any other material (3) silver, (4) bronze, a mixture of copper and tin. among the Greeks was very rare. In the island of Lesbos coins of a mixed metal, billon, were issued as early as the fifth century, and nickel seems to have The been used for currency in north India by the successors of Alexander. but writers also speak of iron money as in use at Lacedaemon and Byzantium materials used
;
down
of this no specimen has come
to us.
Although the ancients did not use the mineral acids which are now employed in refining gold and silver, there is no doubt that they well understood from a practical point of view how to purify as well as how to alloy the precious metals. Agatharchides^ gives us a detailed account of the refinement of gold in Egypt;
an operation which was carried out by placing the gold in an earthen pot, together with lead, tin, salt and barley-bran, and keeping it in a state of great heat for
five
days:
and M. Mongez^ declares that
ancients were least successful was in the separation of gold
point in which the
from
silver
separable.
;
these
The
this process is effectual.
two
metals
being
found together, and
always
not
easily
All gold, says Pliny ^, contains silver, the purest known, that of the
Metallum Albicratense silver the compound is
in Gaul,
only one thirty-sixth
:
wherever the
fifth
part
is
But from baser alloy the precious metals silver could were readily separated. The touch-stone was a ready test for gold very easily be tried by cutting off a fragment and melting it. And even apart from these means, Greeks and Persians, like the Chinese of our days, would readily That the Greeks ludge of the fineness of coin or bar by touch, sound and smell called electrum.
;
'^.
used but
little
alloy with
their
coins,
at all
been proved by frequent experiment, and
events in the earlier periods, has
indeed well known,
is
In Photius, Bibliotheca. 'In ah important paper in the Mem, de VAcad, des
' ^
.
-.
^
following ^
if.
.......
are cited.
N. xxxni. 23.
;
"
G.
Inscr. Vol. ix.
'
.
-
.;
;
;;
whence many of the
facts ^
<
*
Epictetus
i.
20.
' '
,
.
3
HISTORICAL INTRODUCTION.
18
were very simple. Of course machinery entirely unknown anvil, hammer, and tongs, which of the Carisia gens, which bears are represented on the reverse of a denarius First of all a die used. on the obverse a head of Moneta, were the implements
The coining implements such as that now nsed was
of the Greeks
;
bronze, brass or by what process will presently be stated, in intaglio, in anvil, so that its This die was then let into a prepared hole in an soft hon. on it was laid a blank shaped by surface was a little below that of the anvil and heated to redness. At casting into the size and form of the required coin,
was
cut,
;
On the heated blank. stage the tongs would obviously be required to place and on the was placed a bar of metal into which another die was inserted
this it
;
hammer. The bar top of this bar one or more violent blows were struck with a containing the upper die was then taken away, and the now stamped coin removed with the tongs and a fresh blank substituted in its place. To some extent these statements are matter of conjecture, for no Greek
dies,
know, have come down to our times. A few Roman dies exist, and a few dies of Gaulish coins, which are all of bronze or wrought iron, and all remarkable by the absence of a collar, and the simple fashion in which the dies so far as
I
work one against another. and of the Such in general outline was the coining process of the Greeks Romans, until about the time of Constantino steel dies and new processes came in. We can however trace on the coins which have come down to us, successive improvements in the process. The most primitive in fabric of all Greek coins in ;
the British
Museum
or striated,
and on the other bearing three punch-marks, one oblong between two
square,
as
in
is
an ovoid pellet of electrum, on one side merely roughened
iv.
pi.
duced in one way.
It
8.
The
seems to
me
that this coin could only be pro-
red-hot on a surface of rough or corrugated bronze or placed on
on the
it in
coin.
would drive
A
must have been placed iron, and an instrument
pellet of metal, after being cast,
shape like a huge
but with an end formed like the impression single blow with a heavy hammer on the top of this instrument nail,
and
it
would pin down the blank
so firmly that if three or four blows were required,
it
could not
From
process.
two
it
far into
the yielding electrum;
this primitive beginning, progress could be
made
move during the in either or
both
Either a device in intaglio could be let into the anvil at the point where the blanks were laid, or else a device also in intaglio could be cut From the use of the first process the coin would get an in the nail-like punch. of
directions.
obverse-type, from the use of the second device a reverse-type
an incuse-square.
As the
;
the latter within
used no collar to hold a coin while bein^ struck the incuse-square was a very convenient result of the process, the metal ancients
outside the square overlapping round the punch, and holding the blank in position cf.
pi. IV.
4, 34.
Hence
it
;
appears that the obverse die of a coin was the lower
AND
DIE-CUTTING
COIN-STAMPING.
19
and the reverse type the upper. It also seems tha-t archaic coins were punched rather than struck and as the punch was especially the instrument of the state which stamped the money as its own it is not strange that the city-
in striking,
;
name should
usually appear on the reverse, not the obverse of coins.
In Asia some form of incuse-square was usual until after
some
places,
as at
Rhodes and
Hellas, incuse-squares
and
was continued almost
Cos,
circles alternating, pi.
iii.
to
Roman
42, 44, &c.,
in Italy
probably
and
Sicily
considered
from the crude
a
barbarous
and their upper
very thin, and in this strike very neatly
In
century.
fifth
The cities of Magna They cut their lower die
expedient.
Graecia in the sixth century substituted another plan. in intaglio
times.
in
the incuse-square was not in favour, being
first
and
and
shew that square-
tipped and round-tipped punches were used indiscriminately in the
But
400,
B.C.
same time casting their blanks way obtained a mastery and grasp which enabled them to
and
die in relief, at the
strongly.
Usually both dies have the same device so as
and
was evidently the best plan but sometimes the reverse and obverse types were different thus on the obverse Another device for holding a blank between the blows of pi. I. 12 is a tripod. quite to
fit
into one another, see pi.
i.
1
;
this
;
;
of the in pi.
hammer was I.
9,
With
the introduction of a strongly marked border, either plain, as
dotted as in
pi.
i.
6,
or formed into a pattern as in
the reverse of a Greek coin
is
flat
dies,
nearly not quite
flat
(for
nearly always concave), a fact for which the reason
otherwise the metal could hardly have been forced into the obverse
obvious,
die with
4.
i.
increasing skill in manipulation these devices became outworn, and the
blank was merely placed between two nearly
is
pi.
sufficient energy.
It
now became
necessary either to finish a coin at
one blow of the hammer, or else so to strike successive blows that the blank
should not move between.
This could not have been easy, and
it
the less
is
immense number of Greek coins are what is called double-struck M. Mongez says that the that is, have shifted during the hammering process. this howblanks were sometimes withdrawn between the blows to be re-heated surprising that an
;
ever appears to
me most
unlikely,
as
the
workman could never have
restored
them to quite the same place from which he took them. The woodcut represents one of the few ancient dies still existing^. It is of a coin of the younger Faustina, not Greek, but Roman, and probably more complete and convenient from the practical point of view than Greek dies. Yet to a modern eye it will seem sufficiently primitive and but poorly adapted to
an extensive and rapid issue of coin. The right hand figure represents the tAvo the left parts of the die, upper and lower, with the types cut in intaglio hand figure the two parts fitted together ready to receive the blow of the hammer on the top. The lower die would probably be imbedded in a ground ;
*
Taken from the paper of Dr Friedlander
Zeiischr. f. Nitmism., vol.
v.
p.
121.
3—2
HISTORICAL INTRODUCTION.
20
of metal or wood, to enable special placing
As the
to resist the blow.
it
Every blank would require
and removal.
dies
were made of
soft
metal they very rapidly wore out, wore
down
Hence the enormous variety in detail of ancient coins. Seldom do two coins from one die, and continually we remark in the field of coins
and broke.
we
find
signs
of fracture or decay in
the
And
dies.
the artists
who were
work making coin-dies thus learned to be rapid and careless in but at the same time had immense practice. Among us a new die at
at rare intervals
;
Greece
in
M. Mongez has gone were
cut,
and gives
dies
down
late
Koman
they were into
carefully it
as the
being
question with
the
opinion
continually
constantly their work, is
designed
cut at every mint.
what
tools
of a practical engraver that
these all
dies
ancient
were cut by means of the wheel, in the same manner as gems, and not with the graving tool, which was introduced in the wheel
to
the
times, is
fifth
and
century
is
now
a.d.
exclusively employed.
the more rapid process by
far.
A
It appears that cutting
pair of dies,
by says M. Mongez,
which would take more than a month to engrave with a graver, could with the aid of the wheel be produced in six days^. But the ancients, working in rougher and more hasty fashion, and with more practised hands, were far more '
Mongez,
I.e.
p.
208.
DIE-CUTTING AND COIN-STAMPING.
21
The usurper Marius, for instance, who reigned only three days, has left us a quantity of coins in more than one metal, and from a great variety of dies, and similar instances abound. expeditious.
If
we
attentively consider any set of ancient coins
we
shall
find
abundant
The round dots in which letters a sure mark of the use of a wheel by the
proof of the truth of the above statements. of inscriptions often terminate are
V.
may
This
engravers.
be noticed on coins of several periods, such as
That coins were struck when hot
27, XI. 45.
of surface, which
especially notable in
is
in moulds before being struck specially notable
in
Sicilian
from
double-struck,
the
such as
pieces,
minting operation, but they are in
type
is
quite
struck up,
the
die.
at
as in
vi.
pi.
reticulation
from the projections on their pi.
vi.
Not only
10, 29^.
sides,
are coins
holding
the edge of the coin, sometimes
sometimes,
53,
them in one place during the many other ways irregular. Sometimes the
of
difficulty
shewn by the
iii.
Macedonian coins; that they were cast
evident
is
is
pi.
19,
there
is
it
is
confused and not fairly
a blemish in the soft metal of
Sometimes by a too heavy blow of the hammer the edges of the coin
were broken, as in
29, 43.
v.
pi.
Altogether, there must have co-existed in the
production of a perfect coin a number of favourable chances
be wondered that of the blemish of some kind.
coins
But
which reach
at the
same time
us,
not
one
;
and in
it
ten
this very variety
can scarcely is
without
and chance of
makes them more interesting and gives them something of animation. Of the artists who cut dies we know very little. Some of the distinguished Syracusan engravers worked, we know, for some of the Italian mints. But out of Sicily signed coin-dies are rare, and we have no means of judging who in I have been informed that in the Hellas and Asia made the coin-dies. opinion of some of the first painters and sculptors of Germany some of the finer pieces of Greek money are worthy of the hand of really great sculptors coins
:
but history does not record an instance in which a sculptor controlled the mint of a Greek city, as Francia in more modern times did that of Bologna. ^
of.
pi.
Indian coins were in very early times cut as blanks out of a XIV.
24,
25.
Some
plate,
of the copper pieces of the Seleucidae and
been cut out of plates and not
cast
;
whence
their square form,
Ptolemies seem also to have
but these are but exceptions which illustrate the
rule.
i
|
CHAPTER
IV.
C om- Inscriptions The
special subject of the present
work
.
the types of Greek coins.
is
Other
although of value and interest, are
branches of the study of numismatics,
less
Greek archaeology, partly because they require much special study, and partly because they would involve constant But the types of coins can by means of reference to the coins themselves. fitted
for
the purposes of students of
photographic fac-similes be simultaneously brought before the eyes of a class of students
;
and
it
as will be of service in the study of
Nevertheless,
for
of
the
place
This
Greek art and
we
the present,
not with their types only.
some idea
much about them
possible within a limited time to learn so
is
necessary, because
is
by coins
held
with coins as a whole
deal
shall
antiquities.
Greek
in
it
life
;
and
important to gain
is
and
history,
before
we
proceed to look at them under a narrower and more special aspect.
Under the present head I propose tions of Greek coins. It is well known be here stated for the instruction placed upon coins
the
name
of
by the independent people of the city
of the
to
say a few words as to the inscrip-
to all numismatists, but should perhaps
that
beginners, or
states
^r)/3aiojv,
those of Ephesus,
These legends seldom indeed occur on the
these are without inscription in
by the
ordinary inscription
which issued them, was in the genitive plural. Thus the coins of cities
Syracuse bear the legend XvpaKoa-ioyv, those of Thebes, 'E^eo-tW, and so forth.
the
is
indicated only
is
seldom written at length;
type.
all
And the
eai"liest
coins
but a few cases, and the place of mintage in the sixth and fifth centuries the ethnic
first
two
or
three
letters
only are used, a
custom retained in more conservative coinages even to Eoman times. Thus the coins of Athens bear, as a rule, only the letters AGE, those of Elis the letters FA, and the money of Corinth the single letter ?. I have said that the ordinary inscription rule,
is
the genitive plural of the ethnic,
a rule which admits
many
but
though this
is
the
Thus we not unfrequently meet the name of a city in the nominative singular as AKPAfAI and TAPAS on the coins of Agrigentum and Tarentum respectively, unless indeed TAPA2 be taken as the name of the hero Taras, mythical founder of Tarentum, whose it
is
exceptions.
COIN-INSCRIPTIONS. figure
AKPArANTOS,
the genitive
also
IL
pi.
city-name
the
of
as
41,
Occasionally the feminine form occurs, as AAPIIAIA at Larissa,
13.
I.
meet
o
and IAKYN0OY, pi. viii. 33; or the nominative singular ethnic as PHriNOl on a coin of Rhegium, pi. i. 18, and KAYAQNIATAZ,
of the pi.
We
appears on the coin.
2
in w^hich case it is doubtful
pi. lii.
33,
what noun should be understood.
Sometimes, in place of the usual genitive plural, we find a local adjective ending in -IKON. Thus the coins of Panormus are sometimes inscribed TTANOPMITIKON, those of Arcadia, APKAAIKON, pi. in. 15, those of Nagidus, NAFIAIKON, XIII.
pi.
and
2,
so
Beside the name of the
forth.
that of a monetary magistrate.
Already in the
city,
coins frequently bear
century
fifth
these func-
B.C.
began to place not merely their signets on coins, in accordance with a principle of which I shall hereafter speak, but also their names, either in
tionaries
by a few letters. About the time of Alexander the Great custom gained ground rapidly, more especially in Asia Minor, the coinages
or represented
full
this
many name of of
cities,
such as Ephesus and Samos, bearing henceforth customarily the
And
a magistrate, written at length.
in fact in certain cities, such as
Abdera, this had been the custom as early as the middle of the see pi.
before our era, ^as
At
29, 30, 31.
III.
a
still
extensive,
a piece of machinery for facilitating
Coins of
series
of
it,
century,
and second centuries
later period, in the third
when commerce was
fifth
and coins were looked on merely
we
extensive use in commerce,
find
a
greater refinement.
still
such as those
Dyrrhachium, bear the names of more than one magistrate
;
Athens
of
and
in
and
way
this
the date of the piece was fixed at the same time that an indication was given
who was
had not due weight and fineness. of coins issued, not by cities but by
blame
to
In the
if it
case
minting took place was either not indicated at
by
unknown
there
name, of
is
is
probable that the personal
Alexander
kings I.
full
probable that the personal
no name of
regular
or
merely indicated by a
of
on a coin
is
that
the other hand, of a mere monetary magistrate.
is
it
all,
us with a clue to determine whether a
on the coin be written at
of the city
if
furnishes
history and written at full length
to
it
fact
this
or tyrant, or on
viation,
of
or a device at the time understood but not easily to be interpreted
And
us.
the names
In that case the name of the city where the
these latter naturally appear.
monogram
kings,
are
in
city,
or
earlier
length or in
name
times
not
only that
a ruler
If the
name
customary abbreof a
magistrate
and unusual abridgment of
only a brief
name
is
its
of
name
is
that of a despot.
preceded
by the word
its
The names BASIAEfiZ.
Macedon, and his successors down to the time of Alexander
the Great, merely place their name in the genitive on their
coin.
Alexander
the Epirote distinguishes himself from his more celebrated Macedonian contem-
porary
by
adding
to
his
name TOY
NEOTTTOAEMOY,
'Son
of
Neoptolemus.'
m
HISTOEICAL INTRODUCTION.
One
before
of coins
set
the downfall of Persia bears the
those are the remarkable pieces,
King
authority of the Great his
first
any ephemeral usurper
by a
of
string
;
x.
But
of Persia.
and
unmeaning
'
of kings, and afterwards almost
cities,
of regal coins
field
is
taken up
the God, the illustrious bringer of
victory' on the coin of Antiochus IV. of Syria,
Besides the names of
Alexander had led the way,
after
style
such as
struck under the direct
others,
the whole
finally titles,
and
14,
assumed the
generals
successful
pi.
BAIIAEQZ; and
title
pi.
xiv.
14.
:
.
and magistrates, Greek coins
of kings, tyrants,
The
of autonomous times bear only four important classes of legends.
first is
the
names of artists. The types of coins are sometimes signed in minute characters by engravers but such signatures are peculiar to the period of finest art, and ;
almost peculiar to plate,
which
There are numerous instances on
coins.
be mentioned in their place.
will
name on
Sicilian
It
our
sixth
sometimes doubtful whether
is
names are usually distinguishable through the smallness of the characters in which they often also, through being placed actually on the type, and so being are written The second class is marks of value, such as the words inseparable from it. Spaxf^y], 6^o\6<;, and the beginnings of compounds such as diobol and trihemiobol, which are now and then found on coins of good time, though more frequently, as we shall hereafter see, the denomination of a coin is indicated by a slight the
a coin be that of an
artist
or
a magistrate
but
;
artists*
;
variation in the type.
The third class, which although not peculiar to common, consists of explanatory inscriptions. Over of deity, coins the
or
name
of Selinus,
OIKIZTAS,
hero,
pi.
as
beside a head
or
Heracles,
of
on a coin of Croton,
pi.
v.
A0AA is written beside the armour, the prize of victory which occupies the exergue of Syracusan decadrachms, pL time we find
on
a
coin
of
Roma and
placed to designate
explanatory legends
Locri,
xi.
pi.
the
34,
vi.
names
careful
not
to
confuse
pi.
ii.
1;
So the word
2.
in
Fides as members of a group.
we must be
or figure
we may cite from early pL L 17; HYYAS from one
ZQTHP, as epithet of Zeus, on a coin of Galaria^
16;
title
on them very
is
instances
from a coin of Pandosia,
KPA0II,
ii.
As
written his name.
is
early coins
the
chariot-race,
At a
25.
later
PQMA and TTIITIZ With these merely
others
of
a different
character and later date.
These partake rather of the character of dedication. For instance, when we find, on late coins of Syracuse, the word KG PAZ on a coin
which bears the head of Persephone,
one which bears the head of Zeus,
And
dedicatory meaning. full
to
her
legend AOHNAZ
pi.
xi.
the suspicion
lAlAAOZ on late
is
pL
xi.
21,
we at once suspect something of much confirmed when we find the
25,
coins of Ilium,
pi.
be specially devoted to the honour of Athene, and
temple
;
and
the
two legends
and AIOZ EAAANIOY on
xiii.
16,
may have
which appear issued
0EQN and AAEA*QN on the two
from
sides
of
COIN-INSCRIPTIONS. the well-known coins
might be rendered
of
'in
Ptolemy
memory
11.,
pi.
xiy.
25
30,
words
of
which
the
first
and the second 'to record
of departed majesty/
fraternal affection/
The
last
class
purpose
special
of inscriptions consists of words or phrases introduced for a
may be cited from the plates. On pi. mark or symbol of Phanes/ Phanes being
specimens
am
the
nassus
in
stag.
On
on XVI.
6,
Caria pi.
A
a class not large, but of importance to the epigraphist.
;
;
and
XVI.
4,
his
iv.
8,
the legend
XHMA, 'I
^^ANOS EMI
perhaps a tyrant of Halicar-
type which thus speaks in the
we have
few
lYAAMAXIKON,
first
Avhich
person is
being a
abbreviated
to lYN, shewing, that the coins thus inscribed belonged to an alliance.
So the word lEPH, agreeing with the implied word
hpdxi^rj,
on xvi.
5,
states
the class of the inscribed coin, a sacred piece issued from a temple.
There are several
On
the
otlier insci^ptions
copper coins issued by Greek
multitude of interesting inscriptions.
of this kind on cities
during
autonomous Greek
Roman
As however our
object
times, there at
present
coins.
are a is
not
any account of the epigraphy of Greek coins, but merely to shew the more ordinary forms of numismatic legends, especially such as occur on our plates, we must liere stop short, and be content with the few words already
to
give
written.
G,
CHAPTER
V.
Eights of Coinage.
The
to
riorlat
has been in
coin
strike
all
of
a2:es
world
the
a
complete political independence in m-atters monetary and commercial.
mark of But the
three metals, gold, silver, and copper, of which the bulk of the world's coinage
has always consisted, have been placed by custom and tradition in very different
have already stated, the only authority in the Persian Empire who had the right to issue gold coin was the Great King himself. He tolerated an issue of electrum by Cyzicus and Lampsacus, and allowed categories
in
many Greek privilege
some of
I
and even granted the same own Satraps, but in the case of gold, made few or no
mint their own
to
cities
to
As
respect.
this
his
silver
coin,
worth remarking, although the matter be not strictly within our province, that the custom of jealously guarding the monopoly of issuing exceptions.
It
is
supremacy no
gold coin descended to the Romans, during the time of whose or people
ruler
within the confines of
money except on
rare
occasions
the
and by
special
was accorded by the Ptomans to a
silver
Roman world
feAv
dared to issue
The right
permission.
and
cities
districts
gold
to issue
of the East,
such as Antioch, Caesarea in Cappadocia, and Crete, while on the other hand the issue
copper
of
money was granted
to
many hundreds
of
towns
in
Asia
and Europe.
Among
and Italy, there was no dominant currency
the Greek
exact tribute,
so
of Hellas
cities
there was no overlord to
as
like
The condition of the Hellenic world, when
that of
the
Darics in
was a congeries of tiny republics each supreme over the few square miles possessed by its citizens, is exactly reflected in the enormous abundance and variety of coin-issues, each of Persia.
which bespeaks a
civic
it
independence, peculiar religious cults,
complete political
Lapse of time has doubtless deprived us of the coins of hundreds of independent cities, yet enough remains to shew us to what extent suborganization.
division of independence fifty
three
have
Greek active left
cities
was
of Sicily
mints.
At
;
carried in
the
least
little
fifteen
Greece.
We
island of Ceos, cities
of the
have money of more than not ten miles across, had
remote
district
us coinages, some of them of great extent and variety.
of Acarnania
The number
EIGHTS OF COINAGE. work of Mionnet
of towns of which coins are mentioned in the
and
since
we have
the publication of that work
27
scores
new
of
nearly 1500;
is
cities
add
to
must have been numbered not by thousands but by hundreds, had their own types and their own mint, jealously guarding their right of coinage with the aid of two of the strongest sentiments of the Hellenic race, the love of autonomy and commei'cial
to
the
Little
list.
the inhabitants
hill-fortresses,
of
which
jealousy.
Complete autonomy in their issues of coin was thus the rule among Hellenic cities.
But
it
was a rule admitting of many exceptions, a survey of which may
increase our knowledge of Greek political organization.
'
M. Lenormant, in his able and brilliant History of Money Every city had its coin which it struck and regulated at
in Antiquity, says^, will,
own
acting in the
sovereignty and
'
matter with complete independence, in the isolation of
its
^
without caring what course was taken by
neighbours/
its
nearest
'
Hence an
'almost unlimited number of standards and monetary denominations.'
There
is
however here a considerable exaggeration. The Greeks have always had a keen and sound commercial instinct, and it can scarcely be doubted that whatever their motives may have been in choosing their types, they would certainly in choosing their monetary standard take into consideration motives of commercial convenience,
and
neighbours and
coin
issue
If
allies.
we
of
such a weight as to pass easily among
pass
under a
close
current in various districts at a given period,
we
scrutiny the
their
of coins
classes
shall generally find that
they
were calculated to exchange against one another in not unreasonable proportions. This however- is a matter of pure numismatics, and one of far too great perplexity to be here more than touched on.
The main coinage
of Greece
consisting
of the issues of independent cities,
Among these an there passed current along with these other classes of money. important place must be given to coins belonging to the temples of various deities.
It
is
generally allowed that the temples
of Greece were
some of the
In most cases however daring the two centuries succeedino- the invention of coins the temple-mints were superseded by mints belongiug to the state, and managed by magistrates specially selected for the purpose. Only in a few instances did the temples continue an independent issue. It is earliest minting-places.
indeed not easy to separate the issues of temples from those of the cities to But in a few cases we can clearly trace the connexion which they belong.
and a temple, where they must certainly have been Thus there are drachms or hemidrachms of Milesian type, but distinminted. guished from the coins of Miletus by bearing the inscription iy AiSvfxcov lepy], between a set
pi.
XVI.
5,
of
coins
which proclaims them the '
II.
special
mintage
of
the
temple
of
p. 54,
4—2
the
HISTORICAL INTEODUCTION.
28
BrancHdae the
of
SpdxM
whether
lep-q,
inscription
century
sixth
what word must be supplied after other word, but in any case the general meaning
It is indeed doubtful
at Didyina.
or sorae
can
scarcely
So
doubted.
be
Arcadia of an abundant issue
in
too of
appearance
the
coins
in
bearing a figure
the of
Zeus Aphesius and a head of Artemis or Despoena, together with the legend 'ApfcaStKoV, pi. III. 43_, 50, seems to drive us to the theory that this money was issued
Epaminondas any
But
such.
political
unity of the Arcadian race be not implied in the term,
political
if
unity must be.
religious
we have
that
For as the Arcadians had not until the time of union, the generic term 'A/^/caSt/coV cannot refer to
from a great temple.
Lycosura, and
So
it
has been concluded, and with great probability,
here a temple-coinage, issued by the priestly tribe of the city of closely connected
with the great temple of Zeus on the Lycaean
mount, which was the common sanctuaiy of the whole Arcadian fact
the
chief
bond of
A
union.
its
third
instance
race,
and
in
of temple-coinage
may
be
found in the rare piece issued by and bearing the name of the Amphictiones, pi. .VII.
47, 44.
This board, as
considerable religious importance, of
Demeter
at
is
well known, had
and
little
political influence,
but
connexion with the two sanctuaries
close
Thermopylae and Apollo at Delphi.
At one
or
other of these
temples the Amphictionic coins must probably have been struck either on the occasion of a festival, or in
commemoration of some event which the Amphictiones
supposed to be propitious to their cause, Philip of Macedon.
As
a temple-coin
such as the defeat of the Phocians by
must
also
be
considered the early stater
which bears the figure of Zeus thundering, and the legend clearly
was minted in the precincts of Olympia, and
town there but only the temenos and the Zeus and to his festival. Besides the coins which bear the
offices
name
which
^OXvjxttikov,
therefore, as
there
was no
of Zeus, necessarily belongs to
of the city
which issued them, and
those which appear to have emanated from temples, there are others which bear
the names of Kings or Tyrantsare
in
almost
cases
It
is
however a very noteworthy
subsequent to the reign of
fact that these
The King of Satraps, and some of his dependent Kings in Cyprus and elsewhere to issue silver money in their own name, and in the same way he sometimes accorded this permission to the Tyrant of a Greek citv within his dominions. Two instances will be sufficient. The OToat Themistocles, beincr constituted by the King of Persia after his flight from Greece Dynast of all
Alexander.
Persia allowed some of his
Magnesia
in
added
indicate
to
Ionia,
struck there
the place
tyrant of Termera in
money
of mintage.
in his
own name, the
And some
letters
MA
being
half-century later Tymnes,
money bearing alike his own name Tv>i/ou and that of his city TepfieptKov, But such things were, in times before the conquest of Persia, all but unknown in Hellas and Magna Graecia. Dionysius Caria,
issued
EIGHTS OF COINAGE. of
the most despotic of
Syracuse,
Syracusan
coin,
which through
Nor does Jason the Tagus
all
has
despots,
no trace whatever on the
left
reign bears the mere ethnic %vpaKoai(t)v.
his
place his
29
name on
Jason's successor
coins of Pherae.
Alexander, and Teisiphon are exceptions to the rule just formulated. tyrants did place their names quite
Of
alone.
had the impiety
all
But they the numerous despots who ruled in Greek on Pheraean
coin.
even they did not presume to put their
civic
deity
believe,
they alone
cities
of Pherae,
Of
Hecate.
course
effigies
chiefs
of that
place
in
of barbarian
tribes,
of the
Thracians
and even the Kings of Macedon placed their names on their but that was a different case, with them the coin was a regal not a
issue
civic
they determined the standard and regulated the mint, and naturally
;
looked on the civilization
money
Of
their own.
as
They were
in
advance of their peoples in
whereas in Greece proper the rule of a despot was always looked
;
on as a disgrace to any
and a retrogression. the days after Alexander there was a great change
course in
respect.
As King
name on
his coins.
at
I
Paeonians,
coins,
his
stand,
to usurp on coin the position of the cities which they oppressed.
And and
These two
city,
of Macedon,
And
Alexander the Great, from the
in
this
placed his
first,
when, after the death of his young son Alexander,
all
vast dominions lay open as a prize to be fought for by his marshals, these
once assumed the right of
indeed
it
was only
their
striking
with their own
coins
names which they placed upon
coin, for
But
choosing
for
their
after
a time they innovated
money devices according to as we know, about the time
their
own
matter
fancies.
of
types,
stage was reached,
This second
of the battle of Ipsus, B.C. 301, for Antigonus
lost his life in that battle did
who
not adopt types of his own, but adhered to those
Ptolemy, on the other hand, had already separate types before he
of Alexander
;
adopted the
title
ruler
the
they retained his.
time the types of Alexander, only substituting their names in
first
for
for a
also
At
names.
^aaikev'^,
and every pretender
about
B.C.
305.
From
in Asiatic Greece looked
300 onwards, every
the year
upon the
issue of a coinage
and a formal claim of sovereignty. Every satrap of the Seleucid Kings who revolted began at once to mint inde-
bearing his
name
pendently,
not only the founders
as the sign of independence
of
great
dynasties like
Arsaces,
Philetaerus,
and Diodotus of Bactria, but mere ephemeral rebels like Molon, Achaeus, and Timarchus. And from Asia the custom spread over the world. Agathocles and Hicetas, Sicilian Kings, substitute on coins their own names for that of the Syracusans, and the
name
of
Magas appears on money
of Gyrene.
Only
in
a
few of the most conservative of Greek states do the people still retain their name on the coin. Thus at Sparta Areus issued, in place of the money pertaining to
the state, coins bearing his
own name but the types
but Agis and Cleomenes return to the ancient Spartan custom.
of Alexander,
And
thus at
HISTORICAL INTRODUCTION.
30
Argos, Sicyon, and Megalopolis the coinage
from history that these
We
cities
fell
still
remains
civic,
although
under the successive sway of
we know
lines of tyrants.
cannot on the present occasion follow up in closer detail the relations of
royal
and
a careful
civic
coinages in
Greece, but the subject
is
one which would repay
study, and furnish us with valuable information as to civic rights and
royal prerogatives in Hellas.
The
later times of Greece witnessed not only the rise of a class of Kings,
but also federations among free
cities
which wished
to
pi'eserve
their
liberties.
This opens to us another interesting subject, monetary alliances and unions in
some of which indeed may be traced from very early times, but which became more usual and important in the days of decline. antiquity,
CHAPTER
VI.
Monetary Alliances. Although
in the
autonomous days of Greece
any
of course of extreme frequency, yet
great
of so
closeness
to
as
hemmed tribes,
m
be found
Magna
were driven from
neighbours,
or
Now
the
we
B.C.,
of a
peculiar fabric,
pi.
the obverse a type in
of issue
Poseidon corn
;
so is
at
1.
i.
relief,
Caulonia
Croton,
at
;
and
duplicate
:
forth
;
common
exactly the same
it
a tripod
all,
with
connexion
one
another.
the Greek cities of South Italy strike coins
Their distinguishing mark
and on the
What
;
;
there
the
reverse
the type
is
a remarkable figure
is
at
is
is
seeing in
that they have
is
same type
on
and
incuse
depends of course on the of
Apollo
at
;
Poseidonia,
Metapontum, an ear of the type, the method of presenting it in a bull
Sybaris,
to all the cities.
in
close
fact that in early times, that is the sixth century
but whatever
weight
are generally agreed
a
into
turned in the opposite direction. city
alliances
The Greek cities of Southern Italy, being by warlike and for the most part hostile Italic
first
or almost
all,
and
clear
among them, whether against their barbarous own number which had become formidable to the
an important
find that
of distinct monetary
of
alliances
one of their
it is
instances
is
Gi'aecia.
on the landward side
in
So we hear of frequent
rest.
earliest
were
political or commercial,
the issue of coin in the allied states,
affect
The
well-established instances. to
whether
Indeed we can easily mention in a few hnes the
the greatest rarity.
are
alliance,
political alliances of cities
And
all
;
at
the cities mint coins of almost
Numismatic writers and weight evidence
no variety of standard. this uniformity of fabric
of a South Italian monetary league, a league including alike
Achaean and Dorian
and commercial in its nature, for it seems independent of the varying But the evidence goes further still. We can point to several political relations. instances in which it appears from combinations alike of inscriptions and types that two or more of the great Greek cities of Italy combined to issue coins cities
in
common.
Sybaris^,
us so '
pi.
little Br. Mus.
Thus we have pieces issued by Pyxus and xvi. 1, by Poseidonia and Sybaris^, pi. xvi. of these
Cat
cities
in
early times
Gr. Coins, Italy, p. 283.
that '
we can
Ibid. p. 357.
Siris^, 2,
by Croton and
&c.
scarcely '
History
tells
hope to
gain
Ibid, p. 287.
HISTORICAL INTRODUCTION.
32
any
from her as to these monetary conyentions.
fresli light
others
Himera
which we are somewhat
to
as
a time
for
fell
Kings
daeus, successive
by
we
style,
the crab, which
one
is
of the
a union in this
At
Agrigentum.
usual types
just this period, to judge
xvi.
pi.
of the
bear on the reverse
3,
probably issued in Cyrene,
pL'
iii.
27,
We
Agrigentine coin.
not merely commercial, but
case
the city of
Sicily,
thus in these coins a distinct allusion to the union of the two ruler,
however,
are,
mider the rule of Theron and Thrasy-
of Himera^,
coins
In
better hiformed.
— 467)
or Tyrants of
that the
find
481
(b.c.
There
under one
cities
So the coins
political.
which combine the types of that
with those of Lindus and lalysus in Rhodes,
are,
have
district
with reason, conjectured to
have been struck at the time when an army of Samians and Rhodians invaded Cyrene, about 530
— 25
B.C.,
in order to restore to the throne the banished
The style of the piece agrees well with the assigned date. too we seem to have a political rather than a monetary alliance.
Arcesilaus III. this case
Another
which has
alliance,
left
us numismatic
memorials,
by Timoleon in Sicily with a view to concerted action of and the expulsion of the Carthaginians from the island. in force and in reputation increased/ so says Diodorus ^, '
When for
'
many
^
Greek
'
he had restored to the
of
'
pressing
as
were in
on
4
their
all
xvi.
pi.
is
the
to Sicily,
reverse
is
pass
generalship, the
On
a memorial. led forth
Of
the obverse
this is
the Gi'eek colonists
glorious
league,
a head of Apollo
when
at first
the embodiment of their Hellenic nationality.
they
On
that the coin belonged to the Greek league and was intended
current in
league occur,
Timoleon had
the thunderbolt of Zeus Eleutherius and the inscription Su^^ta-
X^Kov, signifying
to
cities,
;
who had and who was
Archegetes, the god sailed
formed
eagerly submitted to Timoleon, because
Sicily
be received into the league,'
to
In
autonomy and embassies came in from many cities and Sicani and others tmder Carthaginian domination, eagerly
Sicels
No.
coin
as
cities
that
is
the Greek
all
'
*
King
as
all
types,
the cities which joined
it.
On
other
money
of the
same
the head of Zeus Eleutherius, the great liberator, the
head of Sicelia herself in form of a nymph, and the torch and ears of barley of Persephone and Demeter, under whose special protection Timoleon set out on his liberating and consecrated expedition.
The discovery of numismatic confirmation least known of Greek alliances is due to the After the
battle
of
Cnidus,
B.C.
394,
we know from the testimony
monians,
the cities of Asia and the
themselves '
in
of
threw
Islands
' '
existence
penetration of
of
one of the
M. Waddington.
defeated
the
Lacedae-
Xenophon and Diodorus^ that most of off
xvi. 73. Cf.
See Grote,
the
which Conon
autonomous under the protection Cat. Slc'dy, p. 78.
of
the Spartan alliance and declared of the conquerors. possess
We
Head, Coinage of Syracuse,
ch. 74.
p. 39.
MONETARY ALLIANCES.
33
pL XVI. 6, 7, issued at this period by the four states Cnidus, Ephesus, Samos, and Rhodes, which all alike bear on the obverse the figure of young Herakles strangling the serpents, with the inscription SYN, and on the
coins,
reverse
may
the arms and part
of
name
the
the
of
word
This
mint-city.
lYN
be with probability of truth expanded into Swixaxta^, and we are almost
M. Waddington that the coins prove an alliance to have been concluded between the four places in question, and possibly other cities of which coins of this class do not survive. The type of the infant certainly
justified
Herakles
with
holding
in
taken from the coinage,
is
pi.
Sparta to which they were opposed. is
uniform
for
all
reasons lay at
the allied
in.
The weight
city
at
The occurrence of the very same xvi. 8, would seem to shew that
the foundation of the alliance.
least
of an uncertain standard, but
is
a proof that commercial as well as political
cities,
type on some gold staters of Lampsacus, this
48, of Thebes, the chief rival of the
wished well to the
pi.
It
alliance.
is
also
found on
coins
of
the distant Zacynthus.
Purely commercial, on the
among the
cities of
electrum in the
other
hand,
the very important
is
convention
the Asiatic coast, which issued staters and hectae (sixths) of
fifth
Of the
century before our aera.
staters of Cyzicus I have
had occasion already to speak. Their wide circulation and great renown seem to have been the reasons which induced several cities of the Asiatic coast to issue electrum staters of the same kind as those of Cyzicus. of
Lampsacus
known
to have been laid
were minted by a
still
larger
Samos, Cebrenia, Cos, and a host of other face
of
them
to be
alliance
coins,
and weight, they are without various
up
in the treasuries
of Athens,
several specimens have of late years been discovered.
of the latter of electrum
are
Staters of Phocaea and
mint-cities
is
a matter
they are
inscriptions, full
And
and
hectae
number
of cities, probably including
places.
These hectae appear on the
all
of nearly the
same shape,
size,
and the attribution of them to the
of difificulty
and doubt.
But we know that
sometimes these pieces of money were the subject of formal arrangements between This is proved to demonstration by the still existing record of a monecities. tary league
entered into by Phocaea and Mytilene, which exists at
Mytilene,
and has been published by Mr Newton 2. This treaty provides that the mints of the two contracting cities shall each issue during alternate years gold coins, no doubt the hectae of electrum which are still abundant, of a certain weight and fineness^. The times of issue are so arranged that when one mint is active
The coins that issue from the Phocaean mint are the other shall be at rest. to circulate also at Mytilene, and those issued at Mytilene shall circulate at suggests, S-ur/xaxtKoV, Coinage of Efliesus, p. 26.
Or
^
Trans^R, S. Lit. 2nd Series, VIII. 549. The portion of the treaty dealing with this matter
^
G.
Mr Head
^
rather, as
is
however
lost.
5
HISTORICAL INTRODUCTION.
34
The moneyer who
Phocaea. in
the treaty shall suffer death,
made up
a tribunal
a
of
of magistrates
of antiquity, and at the
ments adopted in
and
after
of a lower standard than that fixed
the two
This document affords
cities.
made
monetary unions
in the
same time enlightens us on the subject of the arrange-
passed in rapid review the
among the Greeks which have
political,
and before
city
civic mints.
now
have
own
held in his
trial
evidence of the kind of provisions
us invaluable
We
coin
issues
chief
monetary
both
alliances,
But
traces on their coins.
left
remains to speak of the more permanent and close federations of Greek in Leagues, and the effects of these federations in the numismatic
Perhaps
the
requires
mention
Macedon.
It
Macedonian view to
here,
well
is
coast,
known how,
early
laws
of
in
barbarous
Illyrians
for
were
struck
Olynthus
itself,
cities
and
a
They
but of this we
The
are uniform,
have
of
cities
not
extreme
of
striving to
beauty,
attempt which speaks of the best days of Greek art pi.
VII.
12,
Very
^
m
of the
with a
rights
of
the
of
coins
and bear no
Their excellence leads us to suppose that they
set
Finally they are
customs.
which
mutual defence against the
positive
completely had the Olynthians merged themselves in the League.
one weight as would beseem
series.
Chalcidice
reciprocal
and the encroaching Macedonian kings.
of the Chalcidians.
at
cities
earliest
of
cities
among themselves,
Chalcidian League are thoroughly characteristic.
name but that
the
least
the 4th century, the
and intermarriage, and to providing
citizenship
at
of the Oljmthians, formed a union
invitation
identity
leagues,
which comprised the
that
is
at the
establishing
Hellenic
great
of
earliest
it
assimilate
proof,
They
so
are of
laws
then-
and well worthy of an and Greek religion see ;
13.
different
from these
the
are
coins
of the
Achaean League of
later
In point of art these belong quite to the time of decay; yet they Greece. will interest the historical student deeply. The Deities represented on them are Zeus Homagyrius and Demeter Panachaea, the protecting divinities of the All coins bear either at length or in monogram the name of the League. Achaeans, together with which
we
find
in
the case of
copper corns the
name
the mint-city, in the case of silver coins a symbol or device which stands in the place of such name. In addition the silver frequently bears the name of
of a
with
monetary magistrate. those previously
League produced.
When we
current
in
compare the coins issued under the League Peloponnese we see what great changes the
was no light thing for cities of old civilization to give up the types and monetary standards to which for centuries they had been attached, and strike money to pass interchangeably with that of rivals and lately It
hostile
neighbours.
The name
of
the mint-city alone '
Grote, ch. 76.
belongs to
it
on the coin;
all
MONETARY ALLIANCES. else
and
ordered
35
by the League. Corinth abandons Aphrodite, Argos Hera, and even Elis the great Oljrmpian Zeus, in order to accept the is
effigies
of
the
regulated
Deities
though of far less account and less antiquity. They give up local customs and the trust of their ancestors, in the hope of attaining, through mutual concession and compromise, a utilitarian coinage to match the utilitarian union in which they unite to save themselves the
of
League,
from destruction in times of danger and unquiet.
The Aetolian League was organized on other
Here the nation lived in villages, not in cities, and no sacrifice of ancient cults and traditions was necessary. Hence the coinage of the Aetolian League appears to us as simple and compact as that of a single city, see pi. xii. 42, 40. Probably it all
issued from one mint
was withdrawn from League,
since
we
;
almost certainly the right of minting silver money
cities
find
principles.
that
of Central Greece
even
copper
which
money
of
allowed to bear the name of the city which minted
fell
into the hands of the
Aetolian it
in
types was
only
the case of a few
some distance outside the Aetolian border, such as Oeta and Amphissa. More distant cities, which merely paid a tribute to the Aetolian chiefs, probably places at
retained their customs of mintage unimpaired.
For the object of the Aetolian
League was not the spread of a policy, but the acquisition of plunder; their own autonomy the people knew how to protect, but it was quite outside the line
against her
many enemies by
The Epirote and Acarnanian Leagues which
like the Aetolian
of theii' conduct to
internal
cohesion.
try to strengthen Greece
were compressed and centralized, mint, and bearing only the
name
also
seem to have issued coin from a single
of the
League
in its inscriptions.
5—2
CHAPTER
VII.
Mother-cities and Colonies.
The
'
Greek mother-cities to their colonies spread over the shores of the Mediterranean and the Euxine form one of the most mtricate as well as relations of
one of the most interesting subjects of enquiry which can engage a student of
Greek
This
history.
propose to discuss from a numismatic point of
I
subject
view, investigating the relations in
regard to coin-types and coin-weights.
we thus
the results which I
look
between
connexion
mother-city and
thereby attaches
it
and their temples,
up a claim
sets
it
on a foreign
On
soil.
itself
connexion with her and
of
of
colonies
and previous the
centuries,
we In
mother-city.
less
its
home
find very these,
new
remains in close commercial
is
to
And
the latter
durable than the former.
by the
founded
before the invention of coinage, that
it
the depots of her trade.
kind of connexion was in Greece far case
the deities of
the other hand, by retaining the monetary system
one
is
to
to remain under their protection although
of the mother- city, the colony merely shew^ that
the
But
indicated
is
types of the mother-city
In
colony.
by identity of type considerably differs from When a colony keeps the by identity of monetary standard.
that indicated
of
can scarcely be doubted that
it
reach by an inductive road will be of solid value.
of
signs
for
connexion which
far off
And
have mentioned coin-types and coin-weights as the two matters in which
we may the
which hold between mother-cities and colonies
cities
Greece in
of
days
say in those founded in the
long eighth
few instances in which the types are those cults
had
before
the
invention
of coins
superseded those which the colonists brought from home.
The protectino- deities of Miletus and Ephesus were not the Pallas of Athens and the Ionian Poseidon respectively, but the Apollo of Didyma and the Asiatic Artemis. And when Miletus in turn founded Oyzicus and Heraclea and Sinope on the shores
of the
the Milesian cities of
sun god but
variety of deities
took
cities
Macedonia placed themselves under the protection of a not in any way special to Euboea, whence they were founded.
Chalcidice
Tarentum
took as the object of then- chief cultus not local divinities of less widely extended fame. The
Euxine, these
as
in
chief
deity the
non-Dorian
Poseidon
and
his
son
Taras
MOTHER-CITIES AND COLONIES. forgetful
of her Laconiaii
and at Cyrene the worship of Zeus Amnion overshadowed those of the deities brought by Battus
and Apollo Aristaeus from Thera. at
whom
deities
.
settled
among cognate
nations,
they found in possession of the
the protecting divinities,
ol-igin,
Considering the strength of the tendency which made the Greeks,
when they
least
87
of
deities
we need
those
not wonder
colonies, if
we
new adopted gods
find these
local
chosen for their colonies as
sites
the partial effacement of
to
of honour also on the coins of thoroughly
ready to adopt the
Hellenic
ancestral
in the
place
There are certain
colonies.
Naxos in Sicily presents us on its earliest coins with the head of Dionysus, chief god of the island whence the city derived its name and Neapolis in Macedon preserves in its early corns a trace of Athenian origin in the Gorgoneion of Athene there figured; In some cases colonies which do not retain the types of the mother-city retain her monetary system. Thus the exceptions however.
;
cities
Macedonian Chalcidice preserve the Euboic standard in the midst which follow other monetary systems and the Milesian colonies of the
of the
of cities
Euxine
;
still
retain the Persian standard which they inherited from their foundress
m
Miletus, even
times long
subsequent
and Rhodes successively predominated
the
to
of
fall
commerce
in the
Miletus,
when Athens
of the district.
However, from the time of the Persian conquest of Ionia onwards we
When
a changed state of things.
Asia Minor fled westward coins
their
Asiatic
with them.
cities
had a
before
the inhabitants of several of the towns of
the generals of Cyi-us and Darius they took
In those days
settled
all
with
coinage
inhabitants mostly carried to their
find
the more important of the Graecofixed
new homes
in
and these the flying Thus the establishthe West. types,
ment of a comage tended to fix and perpetuate the cults proper to a community, and give them roots among the inhabitants even if these deserted their native dwelling-place.
Immediately after the arrival of the Persian armies on the sea-shore two In B.C. 544 cities of Ionia, Phocaea and Teos, were deserted by their inhabitants. the people of Phocaea migrated to Corsica, thence fell back to Southern Italy,
and
where they founded
Velia,
interesting fact that
alike near
finally
money bearing the Phocaean
XVI. 11.
There can be
Artemis, she
Gaul
•
money
for
still
retained on the later
in Asia
Gaul.
It
is
an
Minor are found
demi-lion tearing the
probability continued to issue
prey,
pi.
coins
mother-city in the
them
at both
Massilia modified but did not abandon the
though introducing on the obverse
and most of the of the
and
in
doubt that the Phocaeans took these coins with
them on their long journey, and in all In after days their new settlements. Phocaean type,
a
type,
Massilia
at
Massilia, at Velia,
pieces of
little
settled
reverse
the
of Yelia
lion,
bear a
of her coins
a head of
a creature quite foreign to still
closer likeness
type of theh reverse, a lion in the
to the act
of
HISTORICAL INTRODUCTION.
38
What
tearing the prey.
community
of coins
us at the
interests
however,
instant,
between Phocaea and her
The
colonies.
pL XVI. were found at Marseilles, but pieces in
coins
respects
all
is
the primitive 11
closely
and 12 of similar
to
No. 11 are found in numbers at Velia in Italy.
The people coast,
of
same period passed over to the Thracian
Teos at just the
And
where they founded the city of Abdera.
Abdera,
pi.
xvi. 10, to those of Teos, No.
two
discriminate between the issues of the
that
9,
it
are
the coins of
so
like
is
by no means easy to
except by weight, the Abderites
cities,
abandoning, no doubt from motives of commercial expediency, the Babylonic for the Phoenician monetary standard.
At a somewhat
later period,
5th century, a party of Samians
early in the
and became subjects of AnaxUaus of Rhegium, in Italy; afterwards they passed the straits and settled at Messana in Sicily. In both of these cities they have left traces of their mfluence in coins bearing the Samian
sailed westwards,
the heads of a lion and of
types,
being No.
14 of
pi.
xvi.,
At Rhegium the
an
see
ox,
and the Messanian
coin,
head remains
a
lion's
as
xvi.
pi.
No.
the Rhegine coin
13,
15.
through
type
all
periods,
no
by the unmigrants. And there have been found in Italy some coins actually bearing Samian types, with regard to which it has been disputed whether they belong to Messana or to Samos, the claim to them of the former city being made the more weighty by the fact that they follow the standard of weight in use in Sicily and not doubt as a memorial of some cultus founded
that in use at
Of
the
in
city
Samos.
colonies founded at a later period one of the
most remarkable was that about B.C. 443, a colony in
by the Athenians at Thurium in Italy, the founding of which a part was taken by Herodotus the historian. This colony was placed near the site of the ancient Sybaris. It will be remembered that Sybaris was destroyed by the people of Croton about B.C. 510. At that early period the coins of the city had but a single type, the bull, pi. xvi. 16, established
the symbol probably of Poseidon.
been made failed
to
restore
Early in the
the city by descendants
owing to the opposition
of
the
fifth
of
Crotoniates.
century^
the
Of
old
an attempt had mhabitants but it
this
;
attempt we have
numismatic memorials in coins stamped on one side with the buU, and bearinp; the name of Sybaris (lY), but having as obverse type a figure of Poseidon No. 17, whence we may fanly conclude that a considerable share in the attempted restoration of the city was taken by the people of the neighbouring
Next came the Athenian
colony; which however did not occupy the actual site of Sybaris, nor did they choose in all respects to adopt the Sybarite Poseidonia.
traditions although
many
of the original habitants of Sybaris, '
Diod. Sic.
XI. 90, xiT. 10.
or of the children
MOTHER-CITIES AND COLONIES. of such reflect
inhabitants, were
among them.
the conditions of the case
The
coins
on the obverse
;
her helmet bound with the sacred
olive
which they
issued,
No.
18,
a head of the Athenian Pallas,
is
but
;
39
on the reverse
is
the
bull
of
Thurium, looking back just as on the earliest Sybarite coins. But before long a further change took place. Possibly to conciliate jealous neighbours^ or may be for some other cause unknown to us the new colonists dropped the name of Sybaris,
and adopted
appellation
that of Thurium,
in its place
of a stream hard by.
And
derived probably
at the same time,
the bull on the coin, yet his character changes.
from
the
though they retain
Instead of being a Poseidonian
symbol as formerly, he becomes the $ov? 0ovpt,os, the rushing or butting bull, which was the symbol of swift and strong streams, No. 19. Thus the whole numismatic history of Sybaris fits in with its political history; and if we look
any period we can see at a glance the proportion then existing between ancestral and external influences.
carefully at its types at
Among
the great colonizing
cities of
Hellas there
is
nies retain a coinage in all respects similar to its own.
one of which the colo-
This
Corinth.
is
Leucas,
Anactorium, Ambracia' and other cities issue staters which can be distinguished from those of Corinth only by the mint-mark the colonies placing their own ;
initial- letter is
A,
A, &c.,
in the place of the Corinthian ?
a coin of Corinth, No.
carefully to consider
colonies
it,
is
21
of Leucas.
all
the mesh of Corinthian commerce.
cults,
The country
No. 20
plate xvi.
fact,
when we come
The Corinthian Acarnania and Epirus, not
of explanation.
along the coast of
only received from Corinth their religious
On
This remarkable
by no means incapable
which were ranged
.
but were also completely within
Ambracian Gulf was more completely under Corinthian influence than the country between Corinth
and Sicyon
;
close about the
and without the aid of Corinthian triremes the Hellenic
colonies
of the district would have been unable even for a short time to hold their
against
the
Thesprotians,
semi-barbarous tribes of the
who were
interior,
continually pressing
Molossians,
them towards the
own
Acarnanians and sea.
Thus
it
was
not without good grounds that the Corinthian envoy boasts, in the narrative of Thucydides, of the loyalty and afiection shewn by the Corinthian colonies for their
mother
city.
This close loyalty was not of course the characteristic of all the Corinthian Corcyra, for instance, was, as everyone knows, mostly bitterly hostile to colonies.
we
Corinth.
And when we
attitude.
The coinage of Corcyra does not begin until late And so neither hostility was fully developed.
when
this
turn to the coins of Corcyra,
find indications of this in the in
sixth century
matters
religious
The nor commercial does the Corcyrean coin sheAv similarity to the Corinthian. Corcyrean type, a cow suckling a calf, see XVI. 24, is taken from the religion of from the cult of an oriental goddess transformed into that of Hera. in fact there is a traditioii of an Euboic colony in the island of Corcyra in
Euboea
And
HISTORICAL INTRODUCTION.
40
pre-Corinthian days
And
the
people
had some the
Acrocorinthus for
than the
Eretria rather deities.
that
so
;
the Corcyrean standard
is
justification
then:
of
seats
in
looking to
patron
original
that of Aegina the great rival of Corinth,
a standard no doubt convenient for adoption as current in the whole of Peloponnese, yet the adoption of which was a marked and probably intentional defiance
both Euboic type and Aeginetan standard are adopted by the two Corcyrean colonies on the shores of lUyria, ApoUonia and Dyrrhachium, which were as closely dependent on their mother-city as were the Corinthian colonies a
And
to Corinth.
Indeed the coins of the three states
few leagues further to the south on thens.
Dyrrhachium and ApoUonia are quite uniform and distinguished by 24 of plate xvi. is a coin of Corcyra, and 25 of Dyrrhathe inscription only. chium. The obverse of these pieces is the symbol, as I have said, of an eastern of Corcyra,
goddess, the reverse seems to be a floral pattern connected with the worship of
a pastoral deity Aristaeus or Apollo Nomius,
and seems
whose
flourished
cult
in
Corcyra
to have thence passed to her colonies.
Neither so hostile to Corinth as Corcjrra, nor so loyal to her as Leucas and
Anactorium were the great Dorian colonies of Sicily, among which Syracuse was The types of Syracuse were originally taken from the cultus the most notable.
Olympian Zeus and the local Persephone or Arethusa. But from the earliest times the monetary system, although in the main Attic or Euboic^ had contained a Corinthian element in the litra, which was recognized as the tenth of the
Corinthian
of the
currency.
stater,
But when
and was to some extent the basis
in the
she displayed her gratitude and her affection for the
l^y
issuing coins of Coiinthian weight
to
our day,
Greek
and types, No.
22,
a real hero,
And
history.
Timo-
Corinthian connexion
many
of which remain
a perpetual memorial of one of the most pleasing
as
Syracusan
days of her depopulation Sja^acuse applied for aid to
Corinth as her metropolis, and received the splendid aid of leon,
of the
episodes
in
even Leontini, which was in origin not Dorian, at the same
period adopted Corinthian monetary types, probably as a
tude to the great Timoleon and to mark the sense
felt
sign of personal grati-
by the
Sicilians
of
the
by Athens and by Corinth in the history of the Island. Athens in regard to the numerous colonies which she sent
difference of the parts played
The out
of
policy
during the
5th
century
is
noteworthy.
It
does not appear that she per-
mitted, in the places where her cleritchi established themselves, issue of silver
money.
of silver at the period
may have been supply of silver culation it
;
and as
Aegina, Samos, Euboea and Melos cease to issue
when they
fall
under Athenian dominion.
money
For this there
The mines at Laurium furnished an abundant to the Athenians which it was to their interest to pass into cirAthenian money was current in almost all parts of the Levant, special
reasons.
must have been very convenient to the
left
any independent
their native country.
colonists still to use it
even after they
;i
i
11.
THE TYPES OF GEEEK COINS. CHAPTER
^
'..
I.
'
,
;
Keligious Character of Coin-types.
It
Greek
is
well
life.
known
The
art,
that religion lay in almost
every matter at the basis of
the drama, the poetry of that gifted people were originally
consecrated to the service of the Gods.
The Gods were revered not only
as higher
powers, but as founders of cities and ancestors of families, as the inventors of
all
and the constructors of valuable public works. Thus too coinage is supposed to have been invented in honour of the deities, and certainly bears from its earliest infancy the signs of then* influence and marks of dedication to them. This is a fact which is now universally recognized but the merit of having first du^ected attention to it and set it fully forth must be given to 'Mr Burgon of the British Museum^; more recently it has been ably worked out by Prof. Ernst Curtius^, whose great historical work bears on every page traces of his useful
arts,
;
thorough acquaintance with
all
classes of the remains of antiquity.
In the times when coinage took its rise the temples of the Gods were the great repositories of treasure, of which the priests well knew how to make use. "
They made use
of valuable
of the sacred precincts of the temples as places for the reception
deposits
in
they made advances to they took part in profitable undertakings on their
times
of
universal
insecurity
;
communities and individuals support was dependent the possibility of colonization beyond the ;
;
seas.
As, there-
power of wealth concentrated in the temples, it becomes highly probable that aU essential progress in the knowledge of the value of the precious metals, as well as the institution of money as a medium of exchange, emanated from fore,
these centres^." ^
^ ^
G.
In an admirable paper in the Numismatic Journal, 1837. His paper translated in the Numismatic Chronicle for 1870, Curtius,
I.e.
'
.
,
6
^,.
"'
THE TYPES OF GREEK COINS.
42
An
examination of the early coins themselves will tend to strengthen this
Among
probability.
the most commercial in character was the Sido-
deities
all
Mylitta and by the Greeks
nian Astarte, a goddess related to the Babylonian called
sometimes Aphrodite, sometimes Artemis, and sometimes Hera,
indeed she
for
The sanctuary of this deity "formed the kernel of every Sidonian factory, whence we find her worship on Every occuall the coasts of the Archipelago devoted to maritime intercourse. pation, trade or industry, such as fishing and mining, when pursued by the inhabitants, was under her protection. Through her means did the precious metals, with the Babylonian system of value and weights, make their way into resembled in some respects each of those
Now
Greece."
it
is
not a
little
deities.
remarkable that the sacred symbols of this deity
and of her Greek equivalents are the most frequent on eai^ly coins. The lion at Sardes and at Samos, and Phocaea and Miletus, the cow suckling a calf at Eretria in Euboea, the dove at Sicyon, and more especially the tunny-fish at Cyzicus, and the tortoise at Aegina, are the figures which mark the earliest coins, and one and all of these creatures are closely connected with the worship That they mark the coin as belonging to of the commercial Sidonian goddess. her can scarcely be doubted, although a doubt may remain in what sense it was hers.
And
in
facts.
In
the
view of this doubt Cnidian
Some
AtBvfxo)v
lepT],
may
be well to cite one or
temple of the Pythian Apollo
marble vessels marked with a of the God.
it
lyre,
Mr Newton
discovered
and evidently thus indicated as the property
the coins of Miletus,
of
two important
plainly signifying that they at
pi.
xvi.
5,
bear the inscription
any i^te belong
ey
in a peculiar degree
Didyma, and were there minted for the purposes of the priests. The mint at Borne was as we know in the temple of Juno Moneta, and it is more than probable that the Ptomans in this matter followed Greek precedent. Considering these and other facts it may be held to be probable, if not absolutely
to the temple of
proved, that priests temples.
The
issued stamped
first
and that the
first
Phoenician Aphrodite, says Curtius,
of the
priests
coin,
mints were in ''first
collected
and marked with the symbol of the Deity the The weighed and stamped lumps of ingots belonging to the Temple-treasury. metal were then put into circulation to the furtherance of a commerce profitable stores
of
the
metals
precious
to the priesthoods."
That the
and quite
legitimate,
but
coin-types there can be issue
of coin
became
a
still
no
a theory.
question
But
whence they proceeded. Those who are at
as
is
to
No
whatever.
concern of municipal
types they bore were the
religious.
were issued by temples
earliest coins
a theory, plausible
the
religious
meaning of
doubt after the
first,
the
and other government, and the
arms or the emblem
specially belonging
to the
But among the Greeks the arms of every all
indeed
city
city
were
acquainted with the customs of Greek symbolism are
RELIGIOUS CHARACTER OF COIN-TYPES. aware that in sculpture and the guardian deity to
m
which she
is
relief
whom
But
that
Athens, in the
is
Amazon Smyrna, Laodicea
foundress the
its
Smyrna
shape of Pallas Athene.
in its Zeus,
in
and
to place the figure of the chief deity of cities on theh^ coins, although
and Caulonia,
instance,
reliefs
embodied
sometimes done as early as the sixth century, at Poseidonia,
is
by
personified
represented as rewarding with wreaths and honours citizens and
the person of
so forth.
commonly
cities are
they more especially belonged.
strangers, regularly takes the reliefs in
and painting
43
pi.
i.
1,
and
in Arcadia,
pi.
in.
15,
16,
is
pi.
for
2,
i.
not usual.
It
was more usual to put merely the head of that deity, the part standing for the whole. Thus on some of the earliest coins of Athens, pi. in. 20, 21, we find a head of Pallas, and on the earliest coins of Naxos, the island, pi. in. 19, which must date from early in the sixth century, we have a head of Dionysus. But it
is
still
more
usual, especially in Asia
and
in the very eai"liest ages of coining,
on coin neither the form nor the head of a deity, but rather a symbol well-known and recognized in local cult as belonging to that deity. No introduce
to
doubt such symbol belonged to the town as well as the had adopted it from the latter. Thus the owl belonged Pallas, and from her it was adopted as a sign by the on the Athenian coins from the
impressed
pi.
first,
in.
but the former
divinity,
in a peculiar degree to
Athens
city of
And we
53.
;
it
are
was told
Samian prisoners captured by Pericles in his celebrated expedition to Samos were marked or branded with an owl, which stamped them slaves of the Athenians. On the other hand the Samians branded upon their Athenian captives on the same occasion a ship, the ship being a symbol proper to the that the
maritime deity of the island
by the It is
whom
the Samians called Hera, and from her taken
Samos and impressed on
city of
its
coins.
many
of course generally recognized that in
is
Every one would allow that the owl
of religious meaning.
sentative of the goddess Pallas, that the lyre
is
type of a coin
cases the
a sign or repre-
is
a sign of Apollo, the wine-cup
But we may go beyond this admission This is by no that all the types of early Greek coins are religious. For example the early coins of Metapontum are generally allowed.
of Dionysus, the
trident of Poseidon,
and assert means so marked with an ear allusion
to
the
:
of corn,
fertility
cf.
of the
pi.
v.
27.
This
is
frequently said to contain an
Metapontine territory
:
but
it
is
certain that
it
has reference rather to Demeter herself, the giver of fei^tility and queen of cornThe shield of Boeotia and of Macedon are often supposed to be mere fields. copies of the kind of armour in use in those districts respectively.
the
Boeotian shield
is
not to
my
my
opinion
the shield of Herakles and the Macedonian that of Ares,
both of these being armed national divinities. a bull, who appears on the money of certain is
In
eyes an ordinary young
The youth cities
man engaged
in the act
of Thessaly, in a
pi.
of taming in.
32, 33,
feat fashionable in
6—2
the
M
THE TYPES OF GREEK COINS.
country, but one of the national heroes of Thessaly, in the performance of some the historic task, Jason perhaps, who had to yoke the brazen-footed oxen to
plough; and who, like sacrifices
Greek
all
The
at stated seasons.
allusion to the
name
Greek sun-god of the
rose at Rhodes,
of the island, but
The
island.
and contains no punning
had regular temples and
heroes,
pi.
x. 21,
priests
the flower sacred to the great semi-
is
parsley-leaf at Selinus does not merely allude to
the abundance of the plant on the site of the city, but probably belongs to the Zeus of Nemea, who gave the parsley crown to the victors in his games. The horse a symbol at Pherae does not allude to the goodness of horses in that city but is
god of waves and streams, of which horses are the natural emblems. The wolf on the Argive coins does not shew that when it was struck wolves were to be found in the mountains of Argolis, but belongs to either Ares or Instances might be indefinitely Apollo Lycius, two of the deities of the city. On the early coins of Persia we find the Great King bending his multiplied. of Poseidon,
bow But
and on the
;
coins
moving in his chariot. The gods alone had a right to the
Sidon, the king of that city
of
to the Greeks this tasted of barbarism.
The head of a man does not make its and deified heroes. appearance on any Greek money until the successors of Alexander, having abeady and their baser deraised him to the rank of a deity, put his effigy there scendants, as they did not scruple to deify themselves, so neither did they coin,
the
gods
;
scruple to usurp on coins the places of Olymjoian deities
and national
heroes.
There are indeed certain classes of early types the religious character of which
might be perhaps at agonistic types.
first
When
doubted, though not with justice.
Anaxilaus of Rhegium
won the
Such
for
example are the
race for mule-chariots at
Olympia, he began to stamp his money with a chariot drawn by mules. of Syracuse placed on coins of that city his quadriga at the
Olympic
At
festival.
which had won a similar
which had been victorious
money the horse
a later age Philip placed on his
victory, still bearing
In the same way a number of
cities
round
of Sicily,
So Gelon
neck the wreath of success. and even Gyrene in Africa, used its
the victories of their citizens in order to perpetuate on coins the memorial of Olympic success. But these instances constitute no real exception to the religious character
had
of
Greek
coins.
For
in
early
days at
all
an intensely religious tinge, and the honour of the
dedicated was the chief object sought by the
events
agonistic
god to
competitors
and
whom
festivals
they were
thought
by The Sicilian cities which adopted the chariot-type make a mere vulgar ostentation of success in the chariot-race of
the presiding magistrates. did not seek to
but wished to perpetuate their successful devotion to the Deity of Olympia, and the pains they had taken in his service, and in return to claim his favour and protection for their prosperity and safety.
There
is
another class of types called
in
heraldic
or
numismatic
language
EELIGIOUS CHARACTER OF COIN-TYPES. types parlants
name
to the
does
or
canting-devices, types which seem to contain a
of the cities which
not at
once
appear.
I
parsley which forms the type
the type of Rhodes. of
which island
phoca or
In
all
seal,
45
The
of the
coins
of
7,
character of these
where
at Zancle
it
is
is
sort occur at Melos, the type
Phocaea where the
at
(ixrjkov),
or
and the rose which
Selinus,
Other instances of the same
iv.
religious
have already mentioned the leaf of selinon
the pomegranate
is
pi.
used them.
allusion
trivial
a sickle,
pi.
14,
ii.,
type
and
a
is
so forth.
these cases I should prefer to see in the type a relic of the sacred legend
which gave the name to the city in question rather than a mere punning device such as might attract a modern herald, but would have appeared at the time of the invention
of coinage
pomegranate were
closely
to savour of impiety.
with
connected
connection probably existed in
the
other
the
may
case there
its
of
entirely
is
Ancona issued money only at a
if
late
and
and the
like
Perhaps
the
least
that of the city of Ancona,
not,
But even
{dyKcHi').
in this
myth connecting the
probably have been some religious tale or
And
rose
parsley,
deities,
mentioned.
cases
type an arm bent at the elbow
symbol with the history of the town.
town
of
cults
religious in appearance of all the canting-devices
which adopted as
Certainly
we must remark
that the
and was by no means
period,
Greek.
Let us
briefly
try to
follow
the process by which in the
city appropriated types to its coin.
We
are
at
speaking,
present
instance
first it
must
a
be
remembered, only of the archaic coinage of Greece.
We
must try to rid our minds of the notion that when they began an issue of coins, went about searching self-made
man
looking for a crest
or
a coat-of-arms.
cities
for
in
early times,
a type, like some
Types were not adopted
The deity who is the patron of the coinage of a city was not selected at random among the various gods to whom honour was paid at although we cannot that place, but assumed the post by some undisputed right always be sure what that right was. In many cases it was no doubt, as Curtius has suggested, because coins were first issued from his temple and stamped by This would seem to be the case more especially with the deities his priest. Astarte and Melkarth and their Greek representatives and equivalents Aphrodite rather they grew.
;
and Herakles, frequently the
whom belongs a very large deity to whom a whole state was to
share
in
archaic
coins.
More
consecrated naturally took the
For example we can scarcely imagine Athenian coin issued under any other auspices than those of Athene, or Milesian coin under other auspices than those of the Apollo of Branchidae, or Samian coin coin also under his pi'otection.
under any protection except that of the Samian Hera. To this rule there are many exceptions for a variety of reasons, some of which I shall have to mention in future
chapters,
but
still
it
is
the rule in times before the Persian wars.
THE TYPES OF GREEK COINS.
46
The Deity who was
assumed
or rather having thus
fixed,
by
fixed
And
reference to him.
placing there some
was done
recognized symbol
of
head on the die than by
his
And
power.
his
thus
have already
in early times, as I
his figure or
being
city
type of the coin was
his rightful post, the
this
by engraving
stated, less frequently
of a
to be the patron of the coinage
the
of
choice
this
symbol again was not fortuitous but flowed at once from the local character and attributes of the God. At Croton the symbol of Apollo is the tripod, pL XVI.
1,
the special property of
represented by his lyre
At Colophon the same deity Argos by the wolf who was the creature of
at
;
Apollo Lycius, the deity of light and the sun dolphin, the animal
who
;
in the island of Carpathos
by a
by a
lion,
Delphinius or Delphidius
of Apollo
appropriate to Herakles than to Apollo. is
the
Hhodes the
griffin,
eagle,
of the sun
the silphium-plant, the
gift
the lion slaying an ox,
pi.
So
mark on the Artemis at
in
of Apollo in.
nor
city of Pamphylia.
xvi.
is
7,
the sphinx, which
is
is
life
;
So too of Aphrodite.
Sicyon her mark
at
tortoise of Astarte, at
whom
she
he
domiciled
is
is
Cnidus the
closely akin.
among a
And
may remark
in
The bee which
In Cyprus the coins minted under her
ram and a crux
of Cybele,
lion
ansata, the Egyptian
people, it
is
lines of
relationships
Homer.
stories
the horse. is
in this
aspect the testhnony of
And
scarcely read
and
Homer and
are
find
in
inclined
yet these myths are almost
all
To us Apollo
Hellenic
the later writers
such to
the
in
and myths as to
and character, which we
ApoUodorus, we inventions.
The
the
At Rhaucus in Crete, where mark is the trident, among the
his
how important
gain our notion of his being from
on the
Aegina
at
the great Asiatic goddess to
a defined personality and occupies a fixed place
We
Abdera
not connected with the real Hellenic
coins as tending to coi-rect our notions of the Hellenic Pantheon. is
at
;
Cyrene
so of Poseidon.
nautical
passing
at
;
in
placed as her
is
one of her temple-doves,
is
horse-loving aristocracy of Thessaly I
lalysus
at
;
her mark at Perga, an old semi-Greek
protection bear the non-Hellenic symbols of a sign for
more
a truly oriental symbol of the burning-power
13,
pi.
Apollo
of Aristaeus
variety
his
the case of Artemis.
coins of Ephesus,
all,
in
sight
first
winged boar
at Clazomenae the
;
at Miletus
also at Teos, pi. xvi. 9, the Apolline
Hypei-borean
the favourite of the
bii^d
of the Sun-God.
So
;
but seems at
belongs indeed in the east to the sun-god,
symbol
and
direction
had been formed.
leadership the colony of Croton is
under whose
God,
Delphic
the
his
birth
writers
look local,
on
and
as
who worked
and
doino-s,
Pausanias
them in
Pantheon.
as
each
his
and
debased place
in
which a myth was current the popular conception of the deity was modified by The Apollo whom the Pthodians worshipped it or framed from it in early times.
was not the Delphic purifying deity, but the God of the sun and the rose, the husband of Ehodos and the father of Electryona and the Heliadae. In later
RELIGIOUS CHARACTER OF COIN-TYPES.
when
times no doubt,
literature
47
and education had spread, the
local
conception
of Apollo, which
was probably of Semitic origin, was overlaid with the national myths but this was certainly not the case in the sixth century before our aera. Then the local tales as preserved by important schools of hereditary priests and ;
commemorated by extant monuments, supreme. The more wealthy and travelled as
local tales
classes
from the works of the rhapsodists or
and great agonistic would accept them almost undiluted. the great
cities
we may
or rather
would add to and modify those in
consequence of a journey to
of Greece
festivals
The people
were
say fetishes,
common
people
Ephesus were madly devoted
of
to the service of the many-breasted Asiatic goddess,
but the
;
whom
was very misleading to call by the name of the Hellenic huntress-queen Artemis. The common people of Phigaleia were faithful servants of the black Demeter with a horse's head, and would have been loath to merge her in the great deity of Eleusis and the Mysteries. And these local conceptions and beliefs which a historian is obliged to take into account, but of which we find scarcely a trace in literature worthy of the name, have a very great influence on the types chosen for coins, from which they can be collected and recovered. It should be distinctly remembered that the rules which I have laid down, as well as the instances by which I have enforced those rules, belong primarily After that memorable period we have to the period before the Persian wars. greater variety in the types of coins, and a far greater variety of choice in their motives gradually makes its way. They do not as yet cease to be religious in character, but no longer belong at all exclusively to the
head of the
and
to
city,
whom
it
but rather to any
may have
whom
the city
may
Some
states,
erected temples.
it
one deity
who
is
the
hold in special honom^
whether from motives
of religious or of commercial conservatism, preserve their old types quite unchanged,
but these
are
The introduction
few.
mere incuse square
or
punch-mark,
is
of a in
reverse-type
many
places
of the
old
taken advantage of
for
in
place
the introduction of the effigy or the attribute of a second deity to be associated
with the
first,
even
if
no other change takes
place.
Greek coinages the most conservative as regards types is that of Athens. The earliest Athenian coins, dating from early in the sixth century, present us with the head of Athene on the one side and her owl on the other,
Of
all
and the very
latest silver coins,
Dictator, preserve the
which are given to about the time of Sulla the
same types, which are
continued
all
through the inter-
vening period with scarcely an exception. No doubt the chief reason of this persistence is to be found in the wide circulation of the Athenian coins which
were current right into the heart of Asia and Arabia. Barbarous peoples, as is well-known, grow accustomed to certain classes of coins and accept them in preAs an instance I may mention that to this day the dollars ference to all others.
THE TYPES OF GREEK
48
COINS. This favour the Athenian
of Maria Theresa are currently accepted in Abyssinia.
had acquired
coins
in
several parts of Asia,
on account of the purity of
chiefly
Therefore the Athenians were prudently very averse from changing
then' metal.
then' character, lest this wide-spread popularity should be brought into danger.
Corinth, the second
not the
if
city of Greece as regards
first
commerce, was
In very early times she had combined on her
almost as conservative as Athens.
armed head, which belongs either to the armed Aphrodite or to Athene, with the winged horse Pegasus, which was probably sacred to Poseidon and coins an
connected with the Isthmian festival which was held in his honour.
And
two types still continue to mark the coins of Corinth down to into the Achaean league. Thus too the tortoise is the only type
absorption
them by Athens
tans until their island was taken from
the lion and the
bull,
the Chians the sphinx, the people
and the
stag, the people of Sicyon
300
later.
or
:
Many more
instances
of this
of the Aegine-
Samians retained
of Ephesus
class
the
bee
to
B.Co
down
and the dove,
chimaera
the
the
its
these
might be added^ but
it
is
unnecessary.
At Thebes sus,
is
after the Persian
added to the
original
wars a type from a second of
shield
Herakles.
cult,
that of Diony-
But here while the
shield
remains scarcely varied on one side of the coin the other shews a great variety
though
of devices,
all
taken from the cycle of Heracleian or Dionysiac myths
which had their centre at Thebes. In the same way at Cos at this period the at Olympia Zeus shares the types of Apollo and of Herakles are combined patronage of the coin with Hera and Nike, at Corcyra Dionysus appears as And at the same time a number of lesser deities assessor of Apollo Aristaeus. ;
and
of heroes
make
their
way
to a place beside the great TToXtovxoi Oeoi, Jason in
nymph Himera
Himera in Sicily, the nymph Olympia at Elis, Ajax at Locri, Odysseus in Ithaca, and so forth. Let us take the series of coins issued by two or three other Greek civic communities, and see if we can trace in the succession of types a reason and a Thessaly, the river-god Gelas at Gela, the
First Elis, a city the
meaning.
coins
at
of which I have submitted
to
a special
As might be expected, the presiding deity of the money of Elis is the study great Zeus of the neighbouring Olympia, and his e&gj as well as his attributes ^.
occur continually from
league B.C. servant,
games, hare,
191.
whom pi. iii.
which
is
500
B.C.
to
the
absorption
These attributes are as follows:
of (l)
Elis
Nike,
he sent to reward those who laboured best 14,
42;
(2)
an eagle, usually bearing in
its
in
into
the
daughter and his honour at the his
talons a serpent or a
the portent sent by Zeus to reveal his will to men,
instanced from the
Iliad,
to the Deity of weather
pi.
iii.
52;
and sky, '
mem.
pi.
(3) the
vm. 24
thunderbolt, ;
(4)
Chron., 1879, p. 221.
Achaean
specially
as
may be
appropriate
the olive-wreath with which
KELIGTOUS CHARACTER OF COIN-TYPES. the Olympian deity rewarded his athletes,
and recur
continually.
ance on the coin of
30
viii.
pi.
49
types occur
these
all
;
Hera the other great Olympic deity makes her appearElis first about b. c. 420 but we do not find in any case ;
there the attributes which in other cities of Greece belong to her worship, such as
the peacock,
or
At
the sceptre.
she merely shares the symbols of the
Elis
Olympian God, the thunderbolt and the eagle, she is absorbed by his greater fame and splendour, and has no independent attributes. At a somewhat later period,
about
on the Eleian
a
local
viii.
27,
B. c.
365,
coin,
pi.
nymph,
Olympia,
but she also
m
the second century
new
a few
b. c.
the horse, make then appearance,
we
way
devices in
If
interferes.
place
we add
honour of Zeus, such as
have exhausted
shall
a
a mere dependent and satellite
is
of Zeus, with whose monopoly of dominion she in no
that
sometimes
occupies
the types of the
all
Eleian coins, which are throughout pervaded by a single idea,
and
with
filled
the glory of one deity.
Next we may take the coinage of longer than that occupied by the coins earliest issues to the
stag and a
year B.C.
palm-tree,
worship was adopted by the
We
EHs.
of
which runs over a period even here find that from the
295 the types of the city are constant, a bee, a
symbols
three
all
Ej^hesus^,
Greek
the
of
colonists
of
great
Asiatic
Ephesus,
goddess whose
when they
arrived
under the Athenian Androclus. One only exception occurs, in or about the year 394, when the type of the young Herakles strangling the serpents makes its appearance,
pi.
xvi.
7
a
,
result
of a political
alliance
which
have already
I
mentioned.
About the year
295 we begin to see on the Ephesian coin the results
b. c.
Now
for
time in the place of the mystic symbols of the Ephesian goddess
we
and the changes they had
of the conquests of Alexander,
the
first
are presented with her e&gj,
pi.
xiii.
13.
But that
wrought.
efiigy
no reproduction
is
of the rude many-breasted statue which stood in the great Ej^hesian temple, but
belongs to a purely Greek Artemis, and the coin bears on cases the
bow and the
for a little while the
quiver, purely
Hellenic attributes
reverse
its
of the
Arsinoe, which was the
name
of a favourite wife.
And
some
goddess.
Deity herself has to give way to a human
time the very name of the city was altered by Lysimachus,
in
and
Also
For a changed for
rival.
as a concomitant of the
change of name, Arsinoe was substituted for Artemis as foundress and divine mistress of the city, and her head, pi. xiii. 12, as is natural, for a time expels the head of Artemis from the coin. But for a time only. No sooner was the
power of Lysimachus broken in Asia than these changes passed away and the old order was resumed, save that Artemis still keeps for a time her Hellenic These endure
complexion and attributes. '
G.
Head
for
about a centmy to the year 202
in iVtim. Chron. 1880, p. 85.
7
B.C.
50
THE TYPES OF GREEK
,
By
COINS.
that time the wave of Greek expansion had spent
and the conserva-
itself^
and Asiatic tendencies of the Ephesian people had reasserted themselves. The bee, the stag, and the palm once more stamp the coin, and after a time in addition to these we even find the many-breasted figure of the Goddess
tive
herself,
though she has not before bodily coinage
durmg every
We
appeared,
she
has
dominated the Ephesian
period except the brief reign of Arsinoe.
have taken as instances a city of Hellas and a city of Asia
thnd example
But,
been tolerated at an earlier tune.
a shape too barbarous to have
I will cite the greatest city of the
ing tone of the Syracusan coinage
is
from the
The
West, Syracuse^.
fii^st
for
;
a
prevail-
The tetradrachm
agonistic.
stamped with a quadriga, pi. il. 9, the didrachm with a pair of horses, pL ii. 11, the ch^achm with a single horse with its rider. Thus the number of horses shews at a glance the numbei' of drachms m any piece of
is
in early times
the money
is
marked with the wheel of a way dedicated to the Olympian Zeus.
The
Syracusan money.
in this
obol
bears the effigy of the local fountain-nymph Arethusa, occupies the obverse of the
execution
At
But the other side The same head 6, 7.
these types, although
on Syracusan coin until a
the variety in their little
that time, coincidmg with the sudden expansion of the
develo]3ment
new
Ii.
of the
and
of Syracuse,
art
we
their attributes.
Sicily
than Hellas, as did Hellas more
I'eadily
deities
The
before
b. c.
400.
power and the high
the introduction of a number of
find
developed new ideas as
fai'
than Asia, and shewed a
almost amounts to license in the alteration of religious myth a view to
side of
a creature connected no doubt in
cuttle-fish,
And
herself.
mfinite, are constant
is
pi.
One
a denomination peculiar to the Sicilian coinage,
liti-a,
accompanied on the reverse by the
myth with the Nymph
chariot.
is
more readily
facility
which
and practice with
Deities stamped
on the Sicilian coin in the 4th century are no longer the responsible lords of the city with its possessions and
traditions,
artistic
effect.
but selected from
among the crowd
of divinities
had erected temples, in order to be honoured by and to some special issue of gold, silver, or copper. But even the
to
gi'ace
whom
the city
with their effigy
license of Syracuse does
any man save of the local hero Leucaspis through all the times of Dionysius and Timoleon and Agathocles, until in the third century Hiero stamps it with his OAvn portrait, and those of his wife Nothing could bear stronger testimony to the strength Philistis and his son Gelo. not ventiu^e to introduce on
com the
figure
of
Greeks in favour of religious designs on the cohi than the fact that even in the innovating cities of the West the gods are only introduced somewhat at random on coins, and by no means excluded from them. of the feeling of
Perhaps
the
all
best
proof and
the
character inherent in Greek coin-types '
Num.
best is
illustration
of the
strong
religious
to be found in the history of the intro-
Chron. 1874,
p.
1.
RELIGIOUS CHARACTER OF COIN-TYPES. duction of portraits of persons on coins.
It
well
is
51
that until the time of
known
had the audacity to place his effigy on coins. Even ambitious and aggressive tyrants like Dionysms of Syracuse, Jason of Pherae, and Philip of Macedon had not lighted on the idea
Alexander the Great no Greek, whatever
power
his
or fame,
But Alexander after his conquest of Persia naturally appeared to his Greek and Macedonian subjects as unique m history, and more than a mere mortal. The strain of madness in his character which underlay his vast abilities caused him to seek to arrogate to himself a After divine origin and nature, a claim readily accejDted by those about him. of wresting from the deities this
his death this
conception
of their master
When
the imagination of his generals. died so that limited
none
poAvers
of
privilege.
his
kin
and frequent
as
still
stronger hold of
the children and the brother of Alexander
remained,
failures
a Deity took
with
his his
followers
unrivalled
their
contrasting poAver
and
own
unfailing
him more and more. When the great territories which Alexander had swayed began to be separated into clearly defined kingdoms, each with a Macedonian general for ruler, these latter began to feel the need of a coinage which should circulate throughout their dominions, and which they might control as the King of Persia and as Philip and Alexander had controlled the money of then* dominions. At first they met the necessities of the case by issuing money exactly similar to that of Alexander, but bearing then names in the place of his. Alexander, it should be stated, had with prescient energy taken up a line quite his own in the types of his coin. Abandoning Ares and Apollo, the hereditary deities who appear on previous coins of Macedon, he had selected for his gold pieces Pallas and her sei'vant Nike, and for his silver coin Herakles and the Zeus of Olympia. It looks as if he had wished to enlist in his army of invasion all the greatest gods of Greece who had favoured the Hellenes in those expeditions against Ilium which he regarded as the prototypes of Pallas had been the chief patroness of the host of Agahis own expedition. memnon, Zeus had awarded it the victory, Herakles had in a previous generation success, idealized
sacked the Trojan
city.
These gods then Alexander placed on his
coin,
Avhich
whole extent of Europe and Asia, and these gods the marshals of Alexander inherited from him, as they inherited his military tactics and the lands he had conquered. circulated through the
two of the ablest of the Diadochi, Ptolemy and Lysimachus, The races subject to them respectively, the Egyptians took a new departure. with elaborate Pantheon, and the rude Thracians, knew little of Zeus and Pallas, Gods they had in plenty, but no god-like hero like and much of Alexander. So while temples Avere erected to Alexander, and men the great Macedonian.
But
before long
were speaking of
his reception into
place his effigy, as that of a deity,
Olympus, Ptolemy and Lysimachus began to on their coin. The portrait is, like all extant
7—2
THE TYPES OF GREEK COINS.
52
much
portraits of Alexander, very
no doubt. coin
When
idealized,
but as to
intention there
its
however the portrait of a man had once found
we cannot wonder
metrius, Seleucus
them
way on
to
Ptolemy, De-
that the precedent was largely followed.
claimed each of
its
can be
Alexander on the
to take the place of
and were not willing to neglect so obvious a means of bringiirg then' features and their power before the eyes of their subjects. So we have from E. c. 300 onwards a full gallery of historical portraits on coins. It is howcoin as in politics,
ever to be observed that
it
was at
appeared on money.
is
well
other
royal
races
their lifetime a
It
had
divme
first
known
temples and character.
Egypt appears
as
ajDpears
Hence
Poseidon,
horn of Dionysus, Ptolemy third century,
if
as early,
I.
one
as as
as
men
comes that frequently Kings appear
it
Antiochus
one of the
II.
and
Dioscuri,
III.
bear the wing of
one
of the
Not
the aegis of Zeus.
do Kings as such
figure
of
character and dedication of coin.
Kings
of
Dionysus, Demetrius Poliorcetes bears the
feel it
though men usurp one side of the com, the other full-length
and
even in
claimed
until
the middle of the
one of the privileges of their
rank to place then portraits on the money of then peoples. usually the
that the Kings
Ptolemies, the Seleucidae,
that the
wealthy priesthoods, and
on corns with the attributes of gods.
Hermes, Antiochus IV.
and not
as gods
a divinity,
as
still
And
even then,
retains a religious type,
a remhiiscence
of the
original
CHAPTER
II.
Monetary Symbols or Adjuncts. In addition to the type or main device of a Greek coin and there
frequently a third detail
is
to
claim our attention.
its
inscription^
who have
All
given
any attention to coins must have noticed in many cases, to right or left, above or below, the main design, a smaller design, either partly or wholly distinct from it. This is called in the language of numismatics the symbol or adjunct, and I propose in the present chapter to discuss
its
nature and origm.
The discrimmation between tyjDe and symbol may at first be supposed to be The type represents the main purpose of a coin, the symbol only a minor easy. The type belongs to the city, the symbol to a magistrate. intention. Nevertheless there are, as we shall find, many instances in which it is by no means easy to decide what is type and what symbol. The origin of the symbol may be easily explained. Archaeologists are generally agreed that sible for his,
who is responthe money to mark it as
a copy or replica of the signet of the magistrate
is
it
the coin.
He
adds his signet to the type of
same principle on which the inscription marks it as belonging to that issued it, and the type appropriated it to the Deity who was
on the
the city
master of the It
is
city.
generally
signatures to
known
in
ancient
documents and agreements,
sponsible persons sealed
of a Greek
that
them with then
family would place
his
seal
or
times, in
instead
their
such signature,
addition to
private signets.
on a
of apjDending
And
re-
just as the head
the contents of which he
closet,
wished to keep private, or on a will or contract, so he would place a copy of on every coin for the weight and fineness of which he was personally it responsible.
On what to it
the
principle
user, or
did
it
closely restricted, or
was the device of the signet selected belong to his family and ancestors ? was
it
in
the main arbitrary
?
All
?
Was it personal Was the choice of
these
are questions
which belong to the heraldiy of the ancients, and are by no means easy to It seems to us very natural that a signet-ring should be handed down answer. But I do not know that any instance from father to son as a family badge.
THE TYPES OF GEEEK
54
of
such
signet seems personal
device of the
Alexander the
rmg
bore
signet
Great's
device on the
On
can be quoted.
transmission
on
type
the
cases,
the
Avould appear that
it
The
Pyrgoteles.
I.
money
Asiatic
of
his
an elephant, which Mithradates
father.
his
this latter instance
the Athenian coins as on those
would seem to be quite
The device of the signet
the coins issued
device
special
is
VI.
of his
and moon, symbols of the Deity Mithras, who was
a sun
many
in
himself by
of
portrait
a
his patronage, introduces
private mark, as well on
And
Thus
the owner.
to
descendant Antiochus IV., in marking with
Athens under
other hand,
the
was an anchor, which contained an allusion to But his bmth, and which frequently appears on his coins.
of Seleucus
the story about his
at
COINS.
inserts
as
his
own dominion, patron divinity.
his
in accordance
also a frequent
with Greek custom.
Greek head of a family very often contained an allusion to the deity after whom he was named. Thus, on coins of Abdera, the symbol of Python is a Pythian tripod on coins of Neapolis the symbol of the of a
;
artist
Artemi-(dorus
name
the
to
allusion
Thus
magistrate
or
of
?)
is
a
figure
the owner on the signet
Abdera the signet of Nicostratus
at
pagores a
dancmg
girl,
of
is
a
is
The symbols the
expected the
of monetary
officers
i^oot
with
entrusted
weight
and account than
almost
universal.
frequently in
in the vast
of a signet, or judge of its
began to
magistrates
However,
make But
their
appearance
as
and became general. as might have been custom took earlier and deeper root in some cities than others,
coinage took firm
soon as
of more playful character.
that of Euagon a prize-amphora.
we are unable to trace the origin we can only take it as it stands.
;
the
charging warrior, that of Mol-
majority of cases, appropriateness
Sometimes
Artemis.
But
the at
during
of
being
coin
others.
By
that
century
the
in
fourth
either
in
some
cities
of greater
had become the place of, or more
century
it
we have at many cities the name of the sometimes the name of more than one magistrate. During
addition to the
monetary magistrate;
issue
symbol,
and the two following centuries there is at almost all great mintino- cities a regular succession and series of monetarii, distinguished by name and sio-net. I have stated that the distinction between type and symbol on coins is not always so easy as might be supposed. Take for instance the great Thracian city this
of Abdera.
From the time
bear regularly on
of the Persian wars to B.C. 400, the coins of
Abdera
one side the type of the
city, the griffin of Apollo, with or without the name of Abdera, and on the other a varying type, see pL iii. 29—31, together with the name of a magistrate. That this reverse type belongs to the magistrate whose name it accompanies and with whose name it changes cannot be doubted; and in fact between the name and the type there is a close connexion as I have already pointed out on this page. The type is then here
really a symbol,
and represents an
officer's
signet.
Why
the magistrates occupy
MONETARY SYMBOLS OR ADJUNCTS. so
prominent a place hold
a
position
given to
promineirce
money we know not they may have very high rank. At the Thracian Maronea
the Abderite
power or been of
exercised unusual
they
on
56
equal
of
;
A
honour.
a magistrate's
symbol
more
still
to
is
found
be
case
of
staters
of
remarkable the
in
Cyzicus, which were composed of electrum, and were largely current in Western
Asia
during
the
fifth
These interesting
century B.C.
rude incuse-square of early times, so that but one side
reverse the
Yet on this one available side the tunny-fish as mint-mark, and leaves all the rest of the field type
the
occupy.
to
who there inserts name of the city
his is
own
private
omitted.
electrum coins where the
device,
was
It
rather call
it,,
In these
symbol
in
:
This
type.
instance
of
the colonies various as
a
20;
to the 1
—
for
only places a
city
x.
left
magistrate,
Even the
5.
probably understood generally that
and the only thing which could be doubted at
19,
is
all
appeared were of the celebrated Cyzicene issue
fish
of its mintage, a question
iv.
pi.
on their
preserve
coins
once set
at
rest
any was the year
reference to
in
by the type,
or,
as
we should
the usurping and magnified symbol.
then what
cases
seems
sight to be
at first
a type
is
other cases, on the other hand, what looks like a symbol specially true of uniform
is
and
Head
federal coinages.
is
really
a
really a
In the cases for
and Pegasus) issued by of Corinth, and of the regal coins of Alexander the Great struck in the
Greek
uniform
cities,
mere adjunct
in
we
coins
(types
frequently find the
the
field.
of Pallas
type of the
Thus the Rhodian
rose
mint-city introduced
and the crab of Cos,
the Hon and star of Miletus, and many other civic types appear in the AlexanSo too the coins of the Achaean league are uniform, but for a drine series.
name or a device which belongs to the city of issue. At some Greek cities we find type and symbol blended into one design with a beautiful effect. At Metapontum this is notably the case. The symbol, is usually walking very commonly a fly, locust or mouse or some such creature, Cyzicus on the leaf belonging to the type, an ear of corn, pi. v. 27. So too at and on coins of Macedon the the tunny is continually blended into the type,
rose,
when
a symbol, grows
did the Greeks understand
from the ground and birds
how
and unity to objects made with a
to
add beauty
to
distinct purpose.
fly in
the
air.
So well
what was already convenient,
CHAPTER
III.
Coin-types and Akchaeology. In the present chapter we
and other works of Greek
coins
what are the differences between activity, what are the advantages and
consider
will
artistic
And
disadvantages which they offer us from the point of view of archaeology.
we
will
we dwell
begin with the disadvantages which are few and obvious, before
on the advantages which are at once of greater extent and
less
obvious to the
uninitiated.
Compared with works of Greek sculpture and painting, coins labour under The Greeks The first is the smallness of their size. two serious drawbacks. with their fine taste and keen sense of form, well knew that it is unsuitable to introduce into the small surface of a coin-die a composition containing more than one or two figures, or of any complicacy of arrangement. Two figures contending, a chariot, a sacrifice, such are the most complicated subjects which are becoming on so small an
more
a
simple,
still
standing Deity, a head, an animal, even a star or a flower.
In
narrow,
only
absence
of some
the
works of Greek
kind
simplest of the
engraver's
hand
In fact
grouping
of
conventions
And
art.
in
which could be represented upon coins
of subjects
not only
but that art has to content the
fact usually the subjects selected
are
way the range
this
and
area,
will
itself
spoil
used,
which play so is
and there
important a
with very small dimensions.
of a
student attains the power of seeing the intention of the
his
work,
and judging the
than by the striking
and
strict little
letter
pieces
latter
slow degrees
rather by
of accomplishment. of
carelessness
with which we contemplate the design. itself to
so
as
to
the small scale
;
it
is
jDart
marked in most
A
little
slip
of
and long practice that the eye
face.
is
a
contour of a figure or the expression
of a
it
is
very
the choice of numismatic art narrowed,
the whole
only by
is
is
its
general
artist
character
and
through feeling
Only by degrees do accidents of
in
a coin cease to spoil the pleasure
And
the eye of the student must adapt
not possible to enlarge the coins by any process
adapt them to the eye.
The engraver had the actual dimensions of the coin before him when he was at work; he intended his figures to be of that size and no greater; hence
AND ARCHAEOLOGY.
COIN-TYPES photograpliic and
all
and make
defects
unsuccessful^ they exaggerate
meclianical enlargements are
carelessness
which
57
in reahty venial rise to
is
the magnitude
of a great blemish.
But the smallness of coin-designs is not their only defect. It must be borne in mind that the primary object in all issues of coins was commercial, and that they were not primarily intended as works of art. The intention was not that they should attract admiration, but that they should pass current on the
market
their
beauty
and hatred
of beauty
love
A
and
;
is
the result of design than of the instinctive
less
of ugliness
which formed part of the Greek nature.
may
confirmation of this statement
curious
be found in the fact that there
and scarcely any of Argos and Sicyon, with any pretensions to beauty, while we have series of superlative excellence from many towns, Terina for instance, and Clazomenae, of which the reader of Greek historyare no
hears
of Athens,
coins
Among
little.
the Greeks, coins were seldom produced by artists of repute
indeed they were usually the work of mere art-mechanics tinually
and they were con-
;
struck with a haste and carelessness which would have been fatal to
the fineness of even the most beautiful designs.
Thus
cannot be denied that
it
we had still remaining all that Greece if we could wander hke Pausanias among
if
produced of beautiful and attractive, Hellenic entirely
and
agoras
the
interest
we should not But now the case is Greek art we have but
look to
temples,
commercial,
archaeology.
of works of
Not one-hundredth
quite
of
coins
them
far
or nearly
we
Instead of a
is
of
We
have specimens of
all
the great series issued throughout the autonomous age, and probably
possess a really large proportion of
It
treasury
full
down sometimes such that we can coins on the other hand we
may
therefore be readily imagined
And among
important varieties.
all
specimens, thousands are as fresh and uninjured as die.
and
part of the results of Greek artistic activity has come
more than could any Roman or Greek. all
would be almost
a comparatively small and fractured remnant.
us,
know
us
for information as to art
otherwise.
and even of that remnant the condition But scarcely look on it with any satisfaction.
to
to
how
when they came
our the
fi:om
the relative value of Greek coins
compared with works of sculpture and painting has increased.
The
special
and peculiar advantages
art are neither few nor small.
by
offered
coins to students of
Greek
'
'
':
*
The first of these, an advantage which degree by all genuine students, is that coins
will
'
be appreciated in a very high
are originals and not copies.
This
can be said of a very small proportion of the works of Greek sculpture which have come down to us. Of the innumerable statues in Italian galleries very few bear the marks of having been executed by the same artist design. G.
Many
are
Roman
copies
made merely
to
sell,
many
who invented the are
Greek repro8
THE TYPES OF GREEK COINS.
58
A
ductions of a low age and an inferior hand. so
And
altoo-ether.
as to have lost their original merit
by modern hands
restored and tinkered
very large proportion have been
even the sculptures of known time and
such as those
origin,
shew by evident marks that the hands which actually produced them were those not of the masters who made the design, but of mere hired workmen, who in giving form to the idea, robbed it of much of its beauty. But Greek coins are originals, entirely unrestored, and preserving to our day all of Olympia and
Bassae,
the beauty they ever possessed.
In coins also we escape those
almost insoluble questions of genuine-
terrible,
may
ness and of real or affected archaism which
Greek
of other branches of
cameos,
work
it
almost or
is
art.
quite
well drive to despair the student
In the case of certain classes of gems, especially impossible to discriminate ancient from modern
with regard to whole classes of vases the date
;
and complete uncertainty,
discussion
work was continued
archaic
for
a matter of unending
is
in
their
production from generation to generation; but with regard to coins neither authen-
within certain limits, date
nor,
ticity
made on a
of being
instead
can be seriously disputed. shifting
quicksand,
their
study,
rock,
and nothing soberly learned need be again unlearned.
is
Every step in made on solid
And
fact .the
in
very question of true and affected archaism in regard to vases, gems, and so
would be more obscure than
forth,
as
it
but for the testimony of
is
the dates of coins can be fixed by other considerations than those of style,
we can by studying them most accurately discover tion of archaism began, and in what countries it was has not been fully worked out, a great deal of material for
character.
by
fixed
cutter
The choice
And
tradition.
the
monetary
coins as
please its in are,
many
It
issues,
especially
This matter
rife.
we
but in the course of our work
affecta-
shall
attaching
" -
to
type was not
find
coins left
to
is
their
and
serious
individual
caprice,
even in the special treatment of the
official
but
was
the
die-
type,
was felt that the state was responsible for the character and that such figures and symbols only must appear on
consorted with the dignity of the commonwealth and such as would
religious facts
at least
patrons.
This sober and responsible
with regard to
in
earlier
times,
lapidary inscriptions they are
Thus
coins.
false
character
spellings
in
is
their
evidenced inscri23tions
most unusual, indeed almost unknown, whereas in
Again we have scarcely any trace
very frequent.
on coins of the indecency which quities.
what period the
seems not usually to have been altogether at liberty, but had to work
within certain limits. its
of a
at
its elucidation.
Another great advantage
of
For
coins.
is
a characteristic of so
In the whole series of Greek
coins,
I
doubt
if
many
classes
of anti-
there be a dozen impure
and even these must rather be considered as eccentricities of Greek religious legend than as due to any wrongful intention. The results of the law I have types,
AND ARCHAEOLOGY.
COIN-TYPES
We
mentioned are far-reaching.
39
have an extraordinary richness of types depicting
Zeus, Apollo, Poseidon, and other great deities
who were the
protectors of cities,
and an immense number of representations of recognized religious symbols such as the tripod, the eagle, and the owl. But as a set-off against this we miss on coins illustrations of certain mythologic fields, we do not find representations of those classes of beings
of
And
cities.
this
is
who were
not closely connected with the
specially the case
on the pediments and
official
rehgion
with those semi-human creatures which
The forms of the earth-born Giants seldom or never occur on autonomous Greek coins, those of Centaurs and of Amazons scarcely at all except at a late period. This of course
so largely figure
a great gap in the
leaves
circle
of temples.
friezes
of numismatic
but
archaeology,
a gap
is
it
which can be abundantly filled from other sources. And a fortiori we must not expect on coins any scene from daily life, save only a few connected with agonistic festivals
nor must we look for any subjects taken from the Mysteries, nor from
;
who
the cultus of the strange and foreign deities
most Greek formists tales
cities,
and whose votaries might perhaps be termed the non-con-
we
of antiqmty, nor have
and
events.
gradually obtained a footing in
as a rule illustrations of heroic
But on the other hand
certain
important
and Homeric
forms
of
Greek
rehgion such as the worship of rivers receive the greater part of their illustration
and without numismatic monuments we should know very little of a number of respectable local cults such as that of Europa in Crete, that of Adranus in Sicily, and so forth. But beyond question the chief advantage possessed by coins from the point of view of teachers and students of archaeology is their capacity of being formed in series in relation both to time and to space, it is the main obj ect in any I have elsewhere ventured to assert that exact and reasoned study of archaeology, to determine the place which gave "birth to each of the works of art which successively come up for judgment, as "well as the time at which that birth took place." With regard to any given coin these two questions can be answered with considerable accuracy and usually from coins
;
' ^
'*
with certainty built, I
;
as this is
the basis on which the whole of these chapters are
must spend a short time
The general scheme illustration,
are
alike
case
all
And
drawn
up,
it.
-^^-
And
'
-
•
and the plates
based on the supposition that the dates and
localities
for
of
the divisions alike in time and space are
the coins on our plates there are scarcely a dozen in the
of which the local assignment which
puted. is
Of
and enforcing
or plan which I have
coins can be fixed with accuracy.
not arbitrary.
in explaining
is
as to the temporal assignment,
here given could be seriously dis-
although in the early periods this
sometimes matter of opinion, yet the widest divergence of opinion of properly
trained numismatists in regard to any coin of clearly
marked
style could scarcely
8—2
60
amount
to
THE TYPES OF GREEK
COINS.
When we
unanimity of opinion with the
years.
fifty
compare
this
extraordinary divergence of opinion frequently expressed in regard to works
must
I
well feel surprise.
or cut stones,
of Melos for instance, or vases
the Aphrodite
sculpture,
set
briefly
why
forth the reasons
of
we may
coins possess this
great advantage;
In regard to the determination of place, not only do coins usually bear the
well-known arms or type of the city which issued them, but also after a very Thus even if we do not know early period the name of that city in addition.
where a coin was found we can
But with regard
and legend.
where
tell
to
it
was minted, by the aid of type
other antiquities the find-spot
most important, very often the only clue to their is
usually the
is
assignment
local
and
;
as
it
usually to the interest of the finder to conceal this, in order that his posses-
sion
may
not be disputed, the evidence of locality
And
continually wanting.
is
yet Greek art can never be studied in any completeness unless the existence of local schools ticular
In this par-
recognized and their peculiarities fully elucidated.
is
then the value of the testimony
of coins
such
is
can
as
be
scarcely
overrated.
And
again the determination of the periods of coins^ although
made with the same accuracy and
course be is
certainty as
cannot of
it
the local assignment,
We
yet possible within narrow limits and beyond reasonable question.
not in this of style,
have
that of most Greek remains, dependent upon the evidence
case, as in
which after
are
reduces one to arguing in a
all
historical indications
then those of epigraphy.
;
First
circle.
of
then those of standard in weight, then those of
Let us take a few instances.
we
all
fabric, •
-
;
-
Readers of Pindar will remember that the Syracusan Hiero on his victory at Olympia was proclaimed by the herald an Aetnaean. And they may perhaps
remember the explanation of the circumstance. Catana as one of the great Chalcidian cities of Sicily was often on bad terms with her Dorian neighbour Syracuse. About B. c. 476 Hiero, king of Syracuse, completely depopulated the city^ removing the
new
inhabitants to
from
colonists
But
colonists
were
in
suddenly
instead
resumed.
of
appear
in
Catana.
of
the walls with
name
Now
Inessa.
the
in
' ,
After
'
the
city
he
at
the effect of
Num.
Hiero's
colony
of Catana^ fifth
a
which without changing their century with the name of Aetna
short
interval
the
thus have a series of coins belonging to
.
of
a body of
Olympia proclaimed a inhabitants of Catana returned, and Hiero's
the coins
early
refilling
The Aetna that he was
obliged to retire to
that
We
of this
461 the old
B.C.
can be clearly traced
type
it is
and
and Peloponnesus.
Syracuse
changed to Aetna, and citizen.
Leontini,
Chron. 1876,
p. 9.
name Sicily
of Catana
which we are '
,
,
is
.
AND ARCHAEOLOGY.
COIN-TYPES on sound
able
476— 461.
A niSAj
^.
historical evidence
01
years,
to attribute to a period of fifteen ,„/
„.,,
,
^.;
:
.
,,_.
^„,.
"
"
,
b. c. ,,;,
.
.
few years ago there came to light small gold coins bearing the letters
and
and
in type
fabric
very similar to those of
was
at
B. c.
570 in the early days of Greece, but our coins
doubtful,
first
for
Pisa
and could not be given to an Curtius^ was able to suggest
the
in
was destroyed about of no archaic
are
But
time than the fourth century.
earlier
that
Eleian territory
attribution
Their
Elis.
style,
Prof.
was one period when the Pisatae
there
when in conjunca league by Epaminondas
could have revived their pretension to issue coin, that namely,
they
who had been formed
the Arcadians
tion with
renewed
pretensions
their
the
to
into
presidence
of
Olympian
the
festival.
For a time they succeeded in ousting the Eleans from that honourable prerogaWe are tive, and in occupying Olympia itself, expelling their former masters. even told that the Pisatae dared to seize some of the temple treasures, and
them
convert
coin
into
This brought about their
the hire of mercenaries.
for
and the people of Pisa soon disappear into the obscurity whence they emerged. We can scarcely be wrong in following Curtius in ascribing to this precise period the gold coins above mentioned which bear the name of Pisa, downfall,
and which valuable of the striking
thus
interesting
are
evidence on the
memorials,
historical
of the
subject
progressive
well
as
a
source
of
development of the type
Zeus of Olympia, the head of that deity which marks them being of
and peculiar
style.
Having taken one instance from the coinage of that of Greece proper,
let
us take a
from that of Asia Minor.
third
GEMIITGKAEOZ, and on the other the bution of these was pointed out by M. Waddington Themistocles,
Eemie numismatiqiie^. after
his
He
ostracism
and another from
Sicily,
of an early period reach us from Ionia which have on the
Persia
as
in
one side the name MA.
letters
Coins
The true
attri-
a valuable paper in the
when Themistocles fled to the Persian king, receiving him with
pointed out the fact that in
him the
471,
B. c.
Magnesia,
Lampsacus and The coin then of which I am Myus, and he lived there until his death. speaking was issued by the people of Magnesia while under the rule of the In this case also, therefore, we have narrow limits of time great Athenian. favour,
allotted
to
wherein to date our
by our
As a matter
of
three typical instances plates.
I
Zeitschr. f.
Vol.
I.
all
Numism.
Nouv.
Serie,
but unfortunately none of these are
;
might with ease double or treble
the
number.
the alliance coins, of which I spoke above, can )
*
with
^
of fact nearly
^
together
coin.
I have selected illustrated
city
it.
p.
p.
47
'
ii
'
.
.,..-
t
274. ;
Melanges cU Numlsmatique,
.'
.
.
.
' ,
p.
1.
THE TYPES OF GREEK
62
And
be dated.
in
besides,
the
case
of
every
COINS. district,
if
not
of
every
there are fixed divisions and limits set by history in the coinage, which
the task of classification by date possible.
about
Sybaris
B.C.
the
510,
make
Such events as the destruction of
Carthaginian invasion of Sicily of
Pyrrhus into Italy and
expedition of
city,
Sicily,
the destruction
412, the
B. C.
of the
cities
of
by Philip of Macedon, that of Thebes by Alexander, and of course above all, the invasion of Asia by the Macedonian monarch, leave broad and deep traces on the monetary issues of the regions affected by them and must form the basis of any satisfactory numismatic classifications. Hence it is that a minute Chalcidice
;
knowledge of history
once demanded for and produced by the study of
at
is
The numismatist must constantly handle not only Thucydides and Xenophon, but Arrian and Justin and Athenaeus, and even such late writers as Photius and Georgius Syncellus. The history of the standards of weight on which Greek coins were struck did not until quite recently become a subject of serious study. There were even found people in the last generation who held that the Greek coins we possess were not coins at all, but medals issued for various purposes. Nothing has done more of late years to give a scientific form to Greek numismatics than the great attention given to weight-standards. The fact has been recognized that Greek
coins.
a coin
is
after all
when
but a stamped piece of precious metal, and that
its
value was
was issued not from the stamp but from the metal. Distinguished scholars like Hultsch and Brandis have in consequence spent years of their lives in weighing coin after coin, recording the results and trying thence The greatest of living archaeologists. Professor Mommsen, to reach principles. derived
has given
it
much time
to the
study of the weights and developments of Greek
and Roman coins, and his strength has opened a way through jungles which were before impenetrable obstacles to science. evident that with a
view
the history of ancient
commerce and economics nothing can be more important than the study of monetary standards. It
This
is
a
is
great
field,
the future.
fruit in
w^ork of the science it.
it
The
subject
save by the
is
as
yet
but
to
little
yield
of such extreme complexity that no progress can be
There are
exclusive devotion of years.
not as yet the means of tracing.
without constant
destined to
much
Such investigations must always be the root and groundof numismatics. Yet to the art student I cannot recommend
altered their standard, for reasons no doubt
we have
worked, but
access to great
any
cities
made
in
which continually
which were good enough, but which Nor can the pursuit be followed up
collections.
And
a
little
knowledge in
this
would therefore be well for ordinary students of archaeology to avoid the mesh of Greek metrology, and confine themselves to other aspects of coins, regarding them rather as works of art than as currency.
matter
is
of scarcely
use.
It
AND ARCHAEOLOGY.
COIN-TYPES
Only they must be prepared to accept the
63
by
results reached
through
specialists
following the laborious path of metrologlcal investigation.
The complete investigation of the method and peculiarities of the fabrication of Greek coins would belong to what is called technology, that is, the history of mechanical art in antiquity, and of successive practical inventions. But a knowledge of fabric which may be acquired by practice and the eye will be of great service to a numismatist in the classification of coins,
change with lapse of time, but
fabric
the Greek world.
As
instances of local varieties of fabric I
two opposite
held them in rows (see Seleucid times,
various in all the various parts of
is
may mention
vi.
pi.
of the metal bars which originally
sides remains 10,
29,
hammered
31).
Gold and
coins
silver
edges.
Many
present a reticulated surface, from being struck while very hot. sort
And
might be instanced.
can be adduced the silver coins
fact,
of
early
when they come from the far East are Coins of Macedon and Thrace frequently
such as double-Darics,
thick and lumpy, with
this
that
good period, being cast in batches before they were struck,
coins of Sicily of the
usually have on
it
not only does
for
as
facts
an instance of temporal variety of
of late satisfactorily established,
fabric
that broad and
from the mints of Asia, such as figure on our plates
of
xiir., xiv.,
flat
did
not make their appearance until at least as late as the reign of Antiochus the Great.
In fact each
district
which the expert eye
will easily recognize.
best possible training. fabric will learn the
and
in treatment,
has at each period a special
And
fabric, a peculiar style,
to learn to recognize it
is
the
Those who have learned to detect varieties of outward
more
easily to
understand and discern differences in art and
undergo that gradual education which
their eyes will
neces-
is
For we may here repeat, what cannot be too often repeated, that in order to gain an adequate knowledge of Greek art, the sary to every student of Greek
eye requires at least as
much
art.
training as
the mind.
Mere reading of books and
the absorption of pleasing theories will take a student a very it
is
little
way forward
not theories but stubborn material, stone and bronze and terra-cotta, which
he has to assimilate and make
Mere cleverness and quickness will be of little avail what is wanted is patience and an earnest determination to reach the truth through the outward embodiment, and to see every work of ancient art in the same light in which it was regarded by its own author. The attribution of coins in time and place is made also much easier through The science of epigraphy, which was in its infancy in the legends they bear. his
own.
;
the
days of Boeckh, has
.
progressed
of
late
years
with very
great
rapidity.
Kirchhoff and other scholars have already carried to comparative perfection the art
by means of the forms of the letters in which they are written, the dates of Greek inscriptions, and every new dated inscription which is disof determining
covered increases the accuracy of our power of assignment.
From
epigraphy, then,
THE TYPES OF GREEK
64
we may it
in
many
cases gather indications for the assignment of our coins.
must be noted that whereas most
in every case in close juxtaposition to
is
a type, and the eye passes easily and rapidly from one to the other until in
And
occur separate from works of
inscriptions
the case of coins the inscription
art, in
COIISIS.
becomes
it
the habit of associating particular forms of letters with particular character-
istics of style,
I
which to a learner of archaeology
a very valuable habit.
proficients in the
dates of coins by slight peculiarities in
too ready to fix the
may
As the
must however add a warning.
is
not have any real importance,
them
which
style,
But epigraphy, the numismatist, must not be treated by him as a guide.
that they can class coins by the forms of letters on
though a useful aid
their
sometimes err in thinking
epigraphists
so
study of art are
to
only.
There was always a period, after the introduction of certain forms of letters at
new and
a city, during which
somewhat promiscuously
old forms were used
thus the coin of which the inscription
times be later in style, and probably later in issue.
by long induction that of the two, epigraphy and
And though
may
written in older characters
is
:
and
some-
It seems to be established
style,
the safer guide.
style is
may seem strange it is yet true that, whereas in the early period of Greek numismatics we have hardly any clear instances of affected archaism in style, we certainly have such instances in the case of inscription or legend. it
For instance, the inscriptions on the coins of Pandosia, the coin of Croton, Again,
it
districts
is
well
than
neighbouring
pi. v.
known
7,
that
there
them
are
which we have abundant early once seen to be true
is
;
but
it
23,
and on
29,
much
of the
longer in some
no ground for supposing that
or even of neighbouring cities,
districts,
i.
are most distinctly instances of affected archaism.
that early forms of letters lingered
so
others,
cause the letters on
2,
pi.
same form.
must be contemporary
In the case of
inscriptions, such as Boeotia
must hold true
coins
districts,
and Attica,
also of regions
historical
other matters.
testimony
;
of
this is at
which have not
left
-
The sum of what precedes may be briefly summed up, before we go In assigning the date of coins we must consider, in addition to their several
be-
'
us early lapidary records.
style,
of
In the
first
place
we must
guarding against a cynical tendency to despise them.
Next,
artistic
weigh
carefully
not of course regarding ancient writers as
further.
infallible,
we must
all
but also carefully
observe and put together the metrological data, trying to find a clue to lead us through their labyrinthine complexity. Thirdly, we must take account of fabric,
and
fourthly,
we must gain such
light
as
we
are
able
from the
science
of
epigraphy.
In addition there are indications helping us to ascertain the dates of coins of a more fortuitous kind, but not therefore to be despised by the numismatist.
Hoards are frequently discovered
in the ground, consisting of a quantity of coins
COIN-TYPES of various
some circumstance may
Possibly
cities.
m
AND ARCHAEOLOGY. the date
fix
when the hoard
was buried; at all events it is sure to contain some pieces whereof the date is known. Hence we may ascertain within certain limits the dates of the rest. The class which is smallest in numbers and shews most traces of wear in use is usually the earliest in date coins fresh from the mint and plenteous in number were probably lately issued when the hoard was buried. By aid of finds of coins some of the hardest problems in numismatics, such as the succession of the ;
Roman
Consular coins, have been approximatively settled.
Hence
the importance of preserving an exact record of the constituent parts of
finds, as
various types of
Another indication of great prac-
well as of the circumstances of finding them.
value
tical
prevailed
at
many
by
custom
which
ancient mints, of using as blanks for their coins the
money
numismatist
the
to
offered
is
instances
of the
with
new
In such cases we can often discern the old types under the new.
A
of other
that
cities,
merely heating
is,
some usual restrikings
is
matik^.
of
Earlier
coins
Dr Friedlander
given by
such as
Crete,
and impressing
it
ix.
pi.
it
in the 19,
types. list
of
Zeitschrift filr Ntimis-
on coins of
restruck
are
which proves that these two classes of coins circulated Later coins of Crete are struck on the money of the kings of simultaneously. And many other instances might be cited. Syria.
Cyrene, like
pi.
ix.
28,
^
To weave
skilfully the
many-fold cord of evidence, and rightly to estimate
the indications borrowed from each source,
numismatics to the student.
And
it
may
is
so solid
and
every step
safe
archaeology which
offered
by
although
more scope to more play for the faculty which produces theories, none offer This is a road in which a road for the beginner to tread.
a clear gain, and
is
is
readily be understood, that
other branches of archaeology offer a wider
the artistic sense,
the training which
lies
field
passes the
it
to imagination,
skirts
of
many
a fair province of
open to those who travel on the highway
if
they need
variety or more ambitious excursions.
Such to If
is
reOTlarly pursue
we wished
coins
But
the study of numismatics.
in the present
work
the slow and inductive course which has
it
is
impossible
been indicated.
to pursue methodically the entire course of investigation, a very few
would more than occupy our
space.
And
writing for students of general
archaeology I wish to shorten as far as possible the preliminary studies and lead introduction to various branches on quickly to results which will be of use as an of
Greek archaeology.
investigated
ah
initio,
Instead therefore of bringing forward a few coins to be
we append
exact
photographic reproductions of several
And in speaking of each hundreds, already classed according to date and place. to one or two of the most of these I shall be able only to call attention '
Vol.
IV.
p.
328.
-.9
THE TYPES OF GREEK COINS.
66
important peculiarities which
presents in a mythological and artistic point
it
of
hope in thus calling attention to works of numismatic art, one by one, to be able by degrees to train the eyes as well as the minds of of numisreaders and in that way alike prepare them for a more detailed study matics, and furnish them at the same time with a compendious grammar of
But
view.
I
shall
Greek archaeology, which
will
be useful in correcting
false
and imparting true
views on the subject of the history of ancient art. Before speaking in detail of the plates, it will be well to point out a few general
which we must
principles,
from the study of Greek
and expect, we
may
carefully
with us
carry
if
we would
profit
Unless we know beforehand what to look for
coins.
miss what
is
valuable,
and
ourselves
fill
with vain ima-
ginings. It is
an indication of the good sense of the Greeks in commercial matters
many
that types,
cities
made
it
a practice to indicate, by a slight modification of the
the denomination of a coin.
At Athens
the divisions of the drachm
all
marked by a varying treatment of the invariable types, the head of Pallas On the tetrobol there are two owls on the diobol the owl has and the owl. but one head, but two bodies on the triobol the owl is facing the spectator, and so forth. By such difierences it was made easy for the Athenian buyers and sellers to discern the value of the small pieces of silver which passed through theh^ hands. So in some of the Sicilian cities the fonr-horse chariot appears only are
;
;
on tetradrachms, didrachms bear a rider who leads a second horse, drachms a simple horseman.
Thus
it is
easy at a glance to see what denomination
we have
to do
So again in Thessaly a horseman marks the diobol, a single horse the
with.
At Corinth the
diobol bears a Pegasus on both obverse
obol a Pegasus on the obverse of cities on
and a Medusa-head on the
the coins of which an animal
the forepart of that animal
is
and
is
used
for
obol.
reverse, the trihemi-
reverse.
At
number
a
the type of the drachm,
impressed on the hemi-drachm.
understood how, without spoiling the significance of their
Thus the Greeks monetary types, to secure
commercial convenience by slight modifications of them.
A
must never be absent from the minds of those who study Greek coins, as it was certainly never absent from the minds of the artists who engraved them, is the limitations and necessities imposed by the shape of The adaptation of design to space was precisely a thing in the fields of coins. consideration which
which the national character of the Greeks, their sense of measure and the fitness of things, and their great mastery of design enabled them to excel, and there is perhaps no particular in which Greek sculpture
more admirable.
is
That
this
is
been acknowledged in the case of pedimental, metopal and other sculptures on temples and it holds no less of gems and coins. The field of coins is so has long
;
usually in
early
times either circular
or
square
;
in
later
times almost
always
AND ARCHAEOLOGY.
COIN-TYPES In
circular.
order to
In some early or patterns,
many
space fully
this
fill
coins, as usually in early vases,
up vacant
fill
More
Of
spaces.
67
resorted
detached ornaments, rosettes,
custom instances
this
were
expedients
stars,
be found in
will
to.
pi.
by preference adopted which of themselves occupy the field, especially designs of which the parts balance one another. Hence the preference on early coins for running and kneeling figures, pi. i. 3, 6 iii. 7, 8, and for winged figures, the two wings of which, stretched back18 IV. 19, 20 wards and forwards in archaic fashion, admirably fill side-spaces, pi. i. 6 ii. 3 IV. 14. On the same principle animals kneel, pi. iii. 12, 13 iv. 13, 18; or turn III. 3,
8.
often designs are
;
;
;
;
;
;
back their heads over their backs,
head may owe
i.
for the
heads of gods and
men
human
Probably the
10, 11, 34, 35, &c.
introduction on coins to the appropriateness of
its first
round space,
to filling a
pi.
shape
its
are seldom figured
by
themselves in arts of earlier times than the Greek,
In later times expedients of a of completeness fact it
and rotundity
impossible to
is
some of them.
5,
17
16,
kind are used for the production
The variety
in a design.
of these
infinite,
is
in
look through any one of our plates without discerning
Standing figures stride with outstretched arm,
15, &c., or, if at rest, hold I.
less simple
in their
pi.
13, 14,
2,
1,
i.
hands attributes which occupy the
field,
pi.
and the space under their seats is filled by a foot a hanging end of drapery, i. 18, 20; seated figures hold out in 15, 16, &c.
II. 2,
;
;
drawn back, or front of them some object, i. 19 In cases where the introduction of 22, &c. attributes would be awkward, other means are adopted. Thus the Nike, r. 23,
—
is
placed in the middle of a wreath, which
the same deity in the
iii.
the field on either side of her,
42 fronts the spectator, so that her wings
Even the Nike who crowns the
field.
fills
Sicilian chariots
on
may pis.
perhaps not have appeared but for the working of the desire to
on
pi.
the
air,
VI. 28,
where Nike drives the chariot herself and
the space occupied by her on other coins
Other remarkable instances of adaptation of design 6,
46, 48
;
iv. 26, 28, 29, &c.
in a quality
;
but
which strongly marks
it
is
carry this very valid observation too
The
much.
choice of a type,
at all
merely as a regulative certain treatments satisfactory
this,
of the
as
;
a
a
so
given
misconception.
and
far,
fill
and even
are, pi.
ii,
;
float
for,
in
of vine.
39
;
iii.
to
It
is
very easy to
suppose that our explanation
would seldom indeed dictate the It would act not as a motive but
field
so act perhaps unconsciously, act
that, other
seem to the mind
the Cyzicene staters,
by making
of the artist
more
things being equal, he would give
them
subject
Perhaps in certain cases the in
fiU spaces
by a branch
to space
might
hard to choose specimens which excel
events consciously.
force,
than others
the preference.
than
desire to
Vi.
cannot also
so
filled
ii.,
alike.
all
I should perhaps guard myself from
explains too
is
spread over
tendency would go even further
on which we find a kneeling Demeter, a
9—2
THE TYPES OF GREEK COINS.
68
kneeling Helios, pL
x.
3,
and even a kneeling Zeus, a type which one must
We
do not often find cases so extreme. Still, it is well to bear in mind that we must always regard the design on a Greek coin Given the as made not to be good simpliciter, but to be good secundum quid. but with limit of space and the material, the artist will probably do his best
almost see to believe in
it.
;
stubborn material he might have done better. And it is the more important to bear this proposition in mind because of the extreme importance of one of its corollaries, which is this, that it is not fair to expect to find upon coins reproductions of the works of sculpture or painting of contem-
more space and a
porary i.e.
artists.
the
first
less
In Roman times, speak of course of the good time of art. century B. c. and later, we do find on coins of Greek cities intenI
copies of celebrated statues
tional
And
in those cities.
even in the days of the
Greek kings we do occasionally meet with instances of such purposeful Thus coins of the reign of Hadrian give us representations, careful reproductions. though on a small scale, of the Zeus of Olympia, pi. xv. 18, 19, and the H^ra In the same period we may discover on coins copies of the Artemis of Argos. of Ephesus, pi. XV. 4, the Aphrodite of Cnidus, pi. xv. 21, and many other later
But this is a thing which we must not look for in earlier and better days. The engravers of coin-dies must of necessity have had continually in their minds while they were at work the great masterpieces of It would seem to us moderns the most sculpture which adorned their city. celebrated statues.
natural thing in the world, in engraving the figure
whom
head of the deity to
or the
the city was consecrated, to closely imitate the statue of that deity which
Yet
stood in the great city temple.
practically
we
find
that exact and servile
imitation of things however beautiful, did not suggest itself to the
who executed
mind
of the
They work on the same lines, so to say, as the great sculptors, yet with infinite difference in detail. They felt that treatment which might suit a colossal statue would not suit the minute field of a coin.
artists
And
besides,
coin-dies.
infinite variety
the representations of Greek alike in general treatment,
vases
we
find
within definite limits
As the
art.
is
the essential character of
riders in the
while yet no two are alike
Parthenon
frieze are
in all details;
the same subject portrayed in groups, which
are
and
all
as on
ever alike and
yet varying; so the representations of the same deity in statue, rehef, gem and coin present us invariably with some new feature. Thus it is that coins of Olympia of the age of Pheidias present us with a head of Zeus full of largeness and grandeur,
pi
colossus
;
Hera,
of Pheidias viii.
pi.
viii.
6,
but not with any exact copy of the head of the
the early coins of Argos exhibit a noble type of head of 14, but we cannot be sure that it reproduces in detail the head
of the great statue of Polycleitus offer
us
a
Hermes carryiDg the
;
the coins of Pheneus of the time of Praxiteles child
Areas,
pi.
viii.
31,
but the
attitude
is
COIN-TYPES
AND ARCHAEOLOGY.
60
from that of the celebrated statue from Olympia
different
Hermes holding
of
young Dionysus. In
as long as
fact,
or relief
was
Greek
but unknown.
all
was
art
The
artist,
however humble, took with
whether a human being or another work of lowing
his
own
artistic
an exact or slavish copy of statue
alive,
art,
such liberty as he chose,
And
and judgment.
sense
this
a
is
which spring from
Again,
we
shall
its
overlooking has been and
is
The crop
of
enormous.
never progress in the study of Greek coins, unless
mind the extremely symbolical
fol-
which
matter
cannot be too fully grasped or strongly realized by the student. errors
his model,
we
bear
The term symholism may not sound well, and may too vividly remind us of somewhat visionary theories and far-fetched interpretations which were current among the followers of the learned Creuzer. But that school erred, not because they attributed a in
character
of Hellenic art.
but because they supposed the
symbolical character to ancient representations,
symbolism of the ancients to be intentional, and
far
more profound than
it
was
Their fault was indeed the almost universal error of carrying modern
in reality.
But the symbolism of the Greeks, though it lay at the basis of all their art, was quite unlike the dreamy and reflective symbolism of modem days. It was very simple and mainly unconscious. They did not invent symbols to express a deep meaning, but used symbols handed down to them from their ancestors, often because they had an almost consecrated character, and because to express the same ideas in a more fresh and complete manner would require more originality and brightness of invention than existed This we shall see more clearly if we instance from coins a or was available. I should perhaps warn those few classes of common symbolical representations. used to the terminology of coins that in thus using the word symbol and symmodes of thought
bolical
I
into antiquity.
do not of course
in technical
refer to those
adjuncts to the type of a coin called
numismatic language symholsy but use the words I have mentioned
an unrestricted and general sense. In this wide sense the term will include the representation in human shape of mountains, rivers and lakes which commonly appear on coins in human or semi-human shape as well as Victory, Good Faith, and other events and feelings. in
;
But
at present I refer less to this translation
sort of artistic shorthand
to
which
is
on
coins,
this
stands, as is
in
Thessaly,
A
Term on
on a
line
feeding on a flowery plain;
placed below the figure of Taras,
feature
persons than to
a
though of course not peculiar t
means that he sea.
into
*
them. If a horse
the
usual
of ideas
pi.
i.
22, this
out if
at
of
which grows a
Tarentum a
means that he
is
pi. vi. 4.
rose,
shell-fish is
passing through
coins signifies a rural scene, terminal figures being a
of the Greek landscape,
:
.
If on the coin of Selinus,
marked
which bears
THE TYPES OF GREEK
70
COINS.
as type the sacrifice to Apollo, in gratitude for
have in the background a crane walking away,
up
of the
may
marshes in which he
pi. ii.
on the lofty rocks of mount Lycaeus.
pi.
If on the
money
the summit of which her temple in fact rested.
an
symbol which stood in
basis,
implies
it,
II r.
52,
1,
more
by putting instead a recognized
represents
the head of Apollo, or
well as
as
eagle
is
holding a serpent in his claws,
A
winged Nike.
of the
figure
was
which
of olive, as in
turning-post
the
pi. v.
25,
victory in the
the Dioscuri to
stands for a
Two
it.
whom
so
sacrifice,
in
the Hippodrome,
as pi.
chariot-race
or carrying
than by figuring the victorious chariot
hovering in the air above fection
of an
Victory
is
portrayed by introducing on a coin an eagle standing on the Ionic
easily
pillar,
by the &gwce
by a
as
by
either
its place.
tripod, pi. xvi.
indicated
xv.
pi.
In a hundred cases where a
even as his whole image, the presence and power of that deity. clearly
find
of Acrocorinthus, on
the ancient artist merely
object,
figuring a small part to stand for the whole, or
Thus the
readily
we
of Corinth
hesitate to see in that basis the lofty rock
modern would copy
we
32,
viir.
Aphrodite and the temple which contains her image placed on a
we do not
When we
be supposed to have rejoiced.
meaning that the temple of the Arcadian Pan was situate
interpret the group as
25,
drying
16, this signifies the
on Arcadian coins a figure of Pan seated on rocks,
find
we
the removal of a pestilence,
surmounted by
caps
An
they belonged.
branch
with Victory
itself,
stars
a
signify
to
ox-head bound with a
perfillet
with which victims were struck
does the double-axe,
But there is surely no need to produce more instances of a law of Greek rather should I apologize for having so long dwelt upon it. art so well known The excuse must be its importance for, unless it is ever in the mind of the student of Greek art, he will make small progress. Another thing to be remembered in studying coins is that they must be looked at with a certain breadth and generality, and with comparative eliminaOf course, in the smallest detail the engraver may have a tion of detail. meaning and in fact fresh meaning is being constantly discovered in variations which had hitherto escaped observation. But there are other variations which spring rather from the exceeding freedom and exuberance of Greek art, even from the haste and carelessness of the engraver, which must not be pressed. How, it down.
;
;
;
may be tional, is
asked,
are
we
to
discriminate
a purposeful and accidental variation?
a matter of long practice and extreme
ally
between an
arises
acquires
course
in
it
numismatics.
between the
in
of
long
familiarity
any considerable
And
of
intentional
this
degree
the reason
To which
difiiculty.
intentional I
It is
would reply that this a power which gradu-
with the objects;
may is
claim to be
clear;
and the unintentional,
for,
and uninten-
in
we must
and
the
a passed order
to
penetrate
man who master in
discriminate
the
exact
COIN-TYPES intention of the artist,
and
this
AND AUCHAEOLOGY.
71
can only be done by those who have ah'eady
main object of archaeological studies to foster and promote. He who can look on the works of Greek art with Greek eyes, and judge them as they would have been judged by their contemporai-ies, is a true master of his subject. And the best means for
acquired that historical imagination
which
acquiring this invaluable faculty
to
presence of works of Greek of them.
art,
is
it
is
the
spend as much time as possible in the
and learn by heart the greatest possible number
IIL
ABT AND MYTHOLOGY OF COIN-TYPES.
CHAPTER
I.
Explanation of Plates.
On
plan on wliich our plates are arranged must be briefly explained.
The
referring to the chart
be seen that
it
which
history
the
divides
them
placed on the last page preceding
is
of
Greek
into
art
six
will
it
and the
periods,
Greek world into ten geographical regions, thus making sixty classes of artNearly all of these sixty classes are repreproductions in ancient Greek times. sented by
still
represented at
extant coins all
and in the
;
outside numismatics
;
But some
plates.
a fact which shews
them
of
not
are
we have not
that
overrated the value of coins considered as representative works of Greek art.
Period I of the chart comprises the time in
48
B.C.
—
79.
Politically
it
down
characterized
is
to the expedition of
by the
rule
in
Xerxes
most Greek
by the rapid spread of Greek colonies over all the basin The art of this period is the archaic, and some of the of the Mediterranean. most strikmg of its productions which have come down to us are the early cities
of Despots, and
metopes of Selmus which are supposed to date from about the
The second
or later archaic period,
sudden expansion of Greece and Calamis, Pythagoras and
but
it
earlier
may
other
moi^e
great
479
— 431,
especially
sculptors
marked
is
were
politically
sudden
the at
B. c.
work during
by the Athens.
of
rise
560.
this
age,
perhaps be considered that the most important art-products of
portion
are
the
Aeginetan pedimental groups
about 470
— 460
artists
the Athenian Myron.
is
B.C.
year
b. c.
into this period the
posed to have been
Of the main
at
Munich,
later part of the period one of the
It
artistic
completed
is
true that according to
activity of Pheidias,
as
its
dating from
most distinctive
history there
the Parthenon
when the Peloponnesian war broke
is
out.
falls
sup-
But
Pheidias was so far in front of his contemporaries that he stands by himself even
EXPLANATION OF PLATES.
And
as regards sculpture.
73
-
-
who
the artists
certainly his influence did not reach
were occupied in producing coins at so early a period as b. c. 430. All the money which we can on satisfactory grounds assign to that date is by no means free from archaism. It would be therefore entirely misleading, when speaking of coins,
to call Pheidias the typical sculptor of the middle of the fifth century.
The next war and the early,
to
of
fall
The
fine.
preferred
period, B.C. 431
— 371,
Athens.
pupils
consider
the stirring time
is
The
were
Pheidias
of
Polycleitus
of the
art
a
as
time
now
better
newly
is
developed,
work,
at
all
Peloponnesian
the
of
representative
but
have
I
the
of
or
period,
both because his influence was more far-reaching in consequence of the number of his jDupils,
and because coins shew
than of that of Pheidias.
The period
moi'e
far
of the influence
of later fine art, of
of Polycleitus
which Praxiteles and
Scopas with their colleagues of the second Attic School are the natural repre-
may
sentatives,
be reckoned from
371
B. c.
to
335,
Theban
the age of the
supremacy, of the Phocians, of Alexander of Pherae and Philip of Macedon. the time of Alexander the Great and his Generals,
beginning of the downfall of Greek
with
ever-increasing
the representative. taken,
is
Of
rapidity.
The
later age
mai'ked in almost
all
art,
this
335
— 280,
we
reach the
which proceeded slowly at
Alexandrine age Lysippus
of Greece,
parts
b. c.
B.C.
of Greece
is
In
first
of
but
course
280 to 146, when Corinth was
by a rapid dechne
in
art,
the
Pergamon and perhaps of Pthodes alone retaining its excellence. Only in the Coins, vases and gems alike shew at this period much degradation. execution of portraits do we note an improvement; so that perhaps a great of
sculpture
portrait-taker, if
it
had been
might better represent the period its
who towered above the rest, us than the Pergamene artists who were
possible to select one
to
chief ornament.
Our geographical
divisions,
in
accord
with
established
numismatic
proceed from west to east along the basin of the Mediterranean. civilization
year B.C. art
Greece proper until first
Rome and in Spain.
The course of
was no doubt the opposite, from east to west, but as early as the 500, Italy began to outrun Asia in the development of numismatic
and remained in
Our
usage,
advance
not
Rome became
only
of
the great Continent
but even
of
her mistress and arbitress.
geographical region consists of North Italy including Etruria and
the Greek colonies further West, such as Massilia in Gaul and Rhoda Within these limits the only important early coinage is that of Etruria,
of our classes 11, 21, 31;
Massilia did not issue
much money
until
the
fourth
not a coinage worthy of consideration from the point of view In the second division are included the Greek of art until the thkd century. the south,. Colonies of Magna Graecia, from Cumae in the north to Rhegium in
century
a
;
Rome had
10
ART AND MYTHOLOGY OF COIN-TYPES.
7*
together with the barbarous inland
conquered the Greek
about
cities
and
Lucanians
the
tribes,
who
Bruttians
300 and were in turn absorbed in the
B. c.
growing empire of Rome.
The important classes here are 1 2, 22. The third region consists of Sicily, which was thoroughly Greek with the exception of the western end which belonged to Carthage, and some parts of the interior where the
primitive
markedly
inhabitants
maintained
still
The
themselves.
of
art
Sicily
is
from that of Italy on the one hand and that of Hellas on
diffei'ent
The bulk of the coinage belongs to classes 13^ 23, 33. I divide Hellas into three regions numbered 4, 5, 6. Region 4 consists of Thx-ace and Macedon including both the rude tribes of the interior and the Greek cities of the coast, of Epirus and Thessaly, Acarnania and Aetolia.
the other.
Region
5
between Aetolia and the Isthmus of Corinth,
consists of central Greece
and comprises Peloponnese.
In style
there
is
and
Attica
Boeotia,
Phocis,
Locris,
the
widest
Region
Euboea.
between
difference
northern Greece and those of Peloponnese, each of which classes
The
strongly marked.
of
coins
Greece
central
on
the
is
the
6
coins
most
and
distinctive
Cyrenaica
in
In
Euesperis.
North
Crete,
which island the coinage
peculiar, as well
districts
Greek
the
we
as
is
shall
The 8th region
the Cyclades.
as
Africa, comprising
these
all
of
cities
less
The
important, the only remarkable coinage in that region belonging to Thebes.
7th region consists of
of
in all periods
hand are
other
the
is
is
of Cyrene, Barce
see
the
and
the great time of coinage was our third and
fourth periods, the century preceding the time of Alexander the Great.
Our 9th
region
is
uninterrupted coinage from the conquest.
first
Perhaps we should have divided this vast
tainly the coins of the purely in character it
we have an abundant and almost invention of money down to the Roman
Asia Minor, of which
from those of such
was not easy
to
draw
Greek
cities
districts as
Lycia and Cyprus.
Our 10th
district
to the east of the Mediterranean, Syria, Mesopotamia,
banks of the Oxus and Ganges.
the use of coins
;
but there
and further Asia of an
is
into several.
Cer-
of the Ionian coast are very different
lines of demarcation, so I preferred
region for our purposes vmdivided.
far as the
district
Most
But on the whole keep the
to
comprises
all
entire
the country
and the inland of Asia as
of these countries early beo-an
not included in the plates any
money
of Syria
than that of Alexander the Great, because the money of Phoenicia and the Persian Empire could not be called upon to bear earlier period
witness to the progress of Greek
art.
Egypt
is
also
included
in
this region,
belonging geographically rather to Asia than Africa.
In the plates the coins are arranged according to the chart.
are
sixty
These are not however taken in regular order from
always
included in
each
plate
two consecutive
periods,
1
classes
of the
to 60, but there
experience having
EXPLANATION OF PLATES. shewn me that plate, is
this
arrangement
earlier period, the
upper part comprises the coins of II.
8
;
tions.
The upper part of each
lower of a later period. classes
the upper part comprises class
upper part comprises 7,
most convenient.
divided from the lower by lines starting from the border but not meeting,
always of an
plate
is
75
classes 4 to 8, of
1,
3,
Thus on plate
the
the lower part of classes 11, 12; of
2,
the lower, class 13; of plate
which
i.
4,
5
are separated
by
lines
iii.
the
from
6,
the lower part comprises classes 14 to 18 similarly divided into two sec-
And
so on with the rest of the plates
up
to
xiv.
10—2
CHAPTER
II.
Archaic Period, early.
We
next proceed to discuss in more detail the art of Greek coins at various
periods of Greek history. in
connexion with
reliefs,
so,
it
however
is
of
Greek art
essential
to
regard coins
more especially with works of executed on the same principles as contemporary
works
other
Coins are
sculpture.
In doing
;
marble and bronze, as the friezes of temples and the fronts of tombs,
reliefs in
as well as such
smaller reliefs
by mirror-cases and slabs of which coins belong is that called
exhibited
are
as
The particular class of reliefs to by Mr Ruskin ^ round relief/ being neither on the one hand flat nor on the In some very early coins indeed, such as that of Syracuse, other hand undercut. terra-cotta.
'
pi.
II.
flat
we
9,
and that of Potidaea,
iii.
3,
we do
see something approaching to a
with sharply defined edges and even surfaces
relief,
get more and more
Ruskin the
of that
coins
is
pleasant bossiness
highest,
In the time of decline
Charles Eastlake
'
good woi-k in
essential quality of
the relief of the relief.
pi.
it
relief.
'
but as art progresses which is according to Mr ;
In the period of finest art
being distinctly mezzo-rilievo and
becomes again
far
not
bas-
lower and more even.
Sir
had a theory that the Greeks gave greater
^
relief to
some of
the less important parts of a head, notably the hair, in order to save the more important parts from friction but this theory is scarcely reconcilable with the ;
heads which abound during the fine period of art nose and mouth are the parts most exposed to injury.
fact that
in the
Our plan
full-face
next to take up, one by one, the periods of Greek art, and to consider in regard to each period what help we may gather in its study is
from an examination of coins.
And under
heed to geographical
The
of Crete as
is
divisions.
the art of Italy from that of Asia
development until we have passed along
'
sea,
and learned
Aratra
Fentelici,
p.
lation into fonn, but is not ^
period
we must
pay
art of Sicily is as widely different
thing like a complete notion of the art
nean
each
careful
from that
and we cannot acquire anyof the Greek world at any stage of its all
;
the eastern shores of the Mediterra-
all
we can
170,
'The sculptured mass projects so as
as to the artistic productions of each region.
anywhere undercut,'
Gontrihutioiis to the Literature of the Fine Arts, p.
117.
to
be capable of complete modu-
AECHAIC PERIOD, EARLY.
77
Copies of Statues.
Of the
art of Greece
have but
period of Greek art,
earliest
had an Asiatic
little
that
Phoenician rather than
or
Few
direct evidence from coins.
period
pre-archaic
a
which the
in
native
coins belong to so early
of our
a period as the 7th century, and those are almost exclusively from Asia. if
we turn from the
those
coins contemporary
with the birth-throes
of a far later date which offer us
may
an early period, we
much
gather
copies
of
extant
of Greek
and
its
And among
those statues
we
art
to
information as to the sources of Greek
present to us the statues in high veneration cities.
But
belonging to
statues
method of development at the very first. In my xvth put together a number of coins, minted in Hellenistic and Boman art
we
character,
in
times
those
in
plate I have times,
which
various
Greek
find several of distinctly pre-Hellenic pattern,
and others which exhibit the Hellenic genius beginning to alter and improve the types inherited from barbarous predecessors or instructors. Mere baetyli, conical stones without any resemblance to the human form, relics of a period of actual fetish-worship, were preserved in temples and held .
in
honour in the
days of Greece.
later
Of
this
class
was the stone said
to
have been swallowed by Cronus in the stead of Zeus which was preserved at Delphi-^
and
by the
people
daily anointed
Troezen
of
murder of
his
in
Such too was the sacred stone venerated Argolis^, which lay in front of the temple of oil.
was said that nine men of Troezen absolved Orestes mother Clytemnestra. At Pharae in Achaia according to
Artemis, and on which for the
with
it
Hermes about thirty square stones, which the people venerated, bestowing on each the name of a For in old time/ adds Pausanias, among all Greeks honours were divinity. paid to unhewn stones in place of statues of the deities.' These stones were stood
Pausanias^ there
in
the
agora by the
statue
of
'
'
'
no doubt in many cases the
same
race
that
frequent in Cornwall.
set
by the
inherited
up
Greeks
Stonehenge and the
But the custom may have
from
earlier
erect
stones
races,
possibly
which are
in other instances been
so
borrowed
from the East, where as we know from numismatic testimony stones frequently At Emisa in Syria for stood in temples as the supreme objects of worship. a conical stone in front of which was the image of an eagle, occupied At Sidon, the most venerable xv. place of honour in the temple (xv. 1).
instance
the
'
Paimn.
x.
24.
'
Pausan.
ii.
31,
7.
'
vn. 22.
i.
AKT AND MYTHOLOGY OF COIN-TYPES.
78
symbol of the city goddess Astarte was a round stone which was carried in procession in a sacred car, and probably regaled with wine, oil, and other ^^'-
^^-
But the Greeks and the semi-Greek races of Asia Minor, Phrygians, Carians and the like, began at a remote period to roughly fashion these sacred stones into something which might pass for a human likeness. One of the rudest of these simulacra occurs on coins of the Emperor or Pretender Uranius Antoninus. Another passed at Perga in Pamphylia under the
name XT.
:i.
(xv.
libations
2).
of Artemis
or
on the coins of Perga (xv.
doubt as to
all
form
with
its
where
3)
its
position
cut
crescent
the exact character of which
other patterns
of this
i-epresentation
on is
the
figure
of
side
of arched
is
Samos under the name of Hera (xv.
4.
Artemis (xv.
XV.
10.
under the name of Aphrodite (xv.
more
at
4),
li.
Myra
coin of
doubt
known
still
name
Of one
of these deities
of
copies
Asiatic Goddesses Cybele,
we have a
on a
late i-epresentation
There we see the
Lycia (xv. 6) which merits some attention.
in
are
and at Aphrodisias
these figures were
all
faithful of current representations of the
or less
Mylitta or Astarte. XV.
No
10).
5),
with
together
it,
Better
obscure.
It
city.
the rough and bai-barous figures which passed at Ephesus under the XV.
usual
is
a Doric temple excludes
in
being the real object of cultus in the
rude head and
a
A
Anassa Pergaea.
goddess, in truncated form, but with head and breasts distinctly marked, and veiled,
Two woodmen
the midst of a tree.
in
indwelling power of the goddess which gives
of the
they are driven
off
by two
remind readers of Tasso,
deities for
whom
breasted figure,
to
snakes which issue from the trunk.
of
consist
marking them as representative of the several Greek they stand. Artemis, the nurturer of young animals, is a many-
with sacred
wood
or
metal
^,
fillets
drapery was not part of the
veiled
and clothed
in
cf.
nature
Overbeck the coins,
of
also maintains this
fillets
are
and
things,
p].
XV,
'
Inst.
I.
13. 17.
but
laid
about
on the Acropolis.
evident from
and were supposed
it,
many
This
It
may
the
like is
the expressions of
view k propos of the Samian Hera.
transformed into supports,
such as those of Ephesus
our
supports,
abundant drapery as beseemed a
figure
about the wooden xoanon of Athene
from the
are called
but their nature appears clearly on
This
closely
By
depending from her outsti^etched hands.
fillets
is
some
need not
specially
Hera
copies
I
connexion with this representation, of the passage
in
writers these hanging woollen
^
a sacred character, but
should be observed that the figures at Ephesus, Samos and Aphrodisias
shew modifications
old
unaware
tree,
Armida.
sorceress It
it
down the
Gerusalemme Liherata in which Pvinaldo cuts down the myi-tle of the
the
of
approach to cut
at
coins.
bride.
peplos
once clear
Lactantius^,
be that in some later
but they are iinmistakeably rendered as
fillets
with the figure of Artemis in the #ztw. Chron. 1880,
pi.
on ix.
ARCHAIC PERIOD, EARLY:— COPIES OF STATUES. wlio
79
speaks of the statue as clad as a bride (uubentis habitu), and as annually
wedded
afresh to
Aeginetan
crated type,
On
Samian
Smilis,
artist
under narrow figure.
Zeus.
restrictions
we
for
able
are
discern
to
our coin a Nemesis of the
ordinary Greek type
the rude simulacrum
character accompanies
Greek inventiveness in the
of
little
stands beside the
on the coin of Aphrodisias an Eros of quite a
Similarly
image.
of Hera,
The Samian statue was by tradition assigned to the but certainly if the work were his it was executed imposed by the existence or memory of some conse-
mother
of his
;
which
late
Hke that
is,
draped.
All three of these simulacra, although they were the chief objects of worship in
the
They
handiwork. sentations
course
of
(xv.
pillar-like
class
a
figure
shew no trace of Greek and yet it was from repre-
contained them,
Greek sculptural types of divinities were in Before coming to these latter we must produce and
that the
developed.
more Asiatic
a few
9)
which
cities
purely Asiatic in character,
are
this
of time
comment on find
Hellenic
three
representation
wherein the
On
coins
of
Carian
Zeus
Labrandeus
images.
the
of
only parts
distinctly
Euromtis in Oaria we
represented
Osogo,
or
axv.
the head,
are
and the arms, of which one holds a lance, the other a battle-axe. The same deity is figured on coins of Mausolus (x. 22), but there the rude cultus-image is
not copied
and the
;
we
find in its
taste of the
of a remarkable
prince
figure
of
place
who
a figure better fitting the age
struck
it.
Dionysus, both
representation has been identified
On
coins of Lesbos
figui^e
by Mr Newton
(xv.
11)
we
and head
as copied
y.
x. 22.
of the coin find copies (12).
This xy.
11.
from a figure said
have been found by fishermen in the harbour of Mytilene the head in particular is of a distinctly non-Hellenic type with tall head-dress and long to
;
pointed beard.
In the case of the Athene of Ilium we have coins which represent two entirely distinct forms, both of which seem early, though they can scarcely be On coins of Ilium we have earlier than the time of the Lydian settlement. a rude standing simulacrum (xv. 13), closely draped and wearing on the head a tall polos, holding in the hands spear and spindle. This figure nearly resembles the Ephesian Artemis. On a coin however of Dardanus, which is I
xv.
13.
more
xv.
7.
believe
unpublished (xv.
closely
with the words of
we have a Homer \
7),
OyJKev ^Adyjvairj^ eVt
Here we
see
of Ascanius ^
II.
VI.
Aeneas
fleeing
and bearing
303.
Cf.
in
figure of
yovpacnv
Athene which agrees
far
rjvKoixoto,
from burning Troy, holding in one hand the hand
the other a veiled simulacrum of a deity of strongly
Strabo, XIII. p. 601,
TroWa twv
apx^-i^'^ rrj^ 'A^iyi/as ^'oaVcaj/ KaOrj^i^va
^zUvvTai.
ART AND MYTHOLOGY OF COIN-TYPES.
80
Whether
Egyptian pattern, seated on a throne.
by the
from a
die-cutter
cannot say, but
Dardanus we character as early as Homers time and of
existing
statue
probably in
is
it
representation was copied
this
Imperial
in
times
great interest to the student of art in the heroic age. is
ill-preserved.
Heracles
certainty traced
a
to
in
this
Phoenician
a
case
Erythrae was a seat of the Tyrian purple-fishery, as indeed the name
implies,
and Pausanias^ of
coins
late
which
.
non-Hellenic,
source.
On
3.
_
however the Greek deity whose type can be with the greatest
is
specially records that the Tyrians erected there
to Heracles the Idaean Dactyl, that XV.
"
Unfortunately the coin
.
and
clearness
at
to say, no doubt, to their deity Melcarth.
is
(xv.
find
sent
human anatomy.
are
Pausanias
a lance.
Evidently
Erythrae.
Aeginetan or
Egyptian
of
He
style.
The
in
Achaica^ mentions
his
had aroused
it
early
Attic
goes on to
style
but beyond
;
story which
a
tell
was
it
drifting
is
at
first
sight probable^
The Deity
21, 22).
the club
just as
at
and
is
tlie
all
the
in
existing
as
at
either
says,
thoroughly
statues of
seems very improbable that abovit
and that both
at sea
That
Still
was of Phoenician
it
if
striding, not standing,
other
that the Greeks inherited from the Phoenicians
renamed
their
after
in
exists
we compare with but he holds
hand a
God
Greek
art
Heracles
and
;
also
It
A
bow.
aloft
figure
of
thus abundantly clear
that the
which they
whole idea of Heracles
comes from a Phoenician source.
not dissimilar character but
of a
is
statues of Melcarth
Beside the Asiatic statues of divinities hitherto statues
repre-
to
Phoenician city Citium in Cyprus
Phoenician chai-acter found by Cesnola^ at Golgi.
it
made
almost exactly like that on the coins of Citium occurs in a relief of
Heracles
as
cultus-statue.
he
not,
is
and becomes almost certain
Citium
Erythrae,
at
is
Pleracles
but the latter were successful.
it,
the figure of Melcarth on early coins of
IV. 21-22. (iv.
It
probably a kernel of truth in the story.
is
old
very statue
this
attention.
his
Chians and Erythraeans tried to secure
it
evidently an
of
holds aloft in one hand a club, in the other
figure
some Tyrian ship which contained
origin
is
not separated, but in the body some attempt
legs
there
a very archaic figure
8)
sometimes placed in a temple and
is
The
of
we
Erythi-ae
a temple
cited
more Hellenic
"
I
must place a few
One
in style.
of the
most remarkable of these occurs on a coin struck in the third century B.C. at Sparta, and bearing a portrait, perhaps of the Macedonian king Antigonus Doson. XV.
28.
It
figures
female and
PI.
in
clad
pillar-like form.
The statue represented on the reverse is apparently in long drapery, though this appearance may be due to its The head is surmounted by a helmet and the hands grasp xv. 28.
respectively a lance and a bow.
'
IX.
27.
'
Beside
c.
5.
5.
it is
a goat.
'
This statue
Cesnola's
C'l/j^rus,
p.
is
evidently also
136.
; ,
-
ARCHAIC PERIOD, EARLY :— COPIES OF STATUES. an ancient cultus-image, and Erythrae.
attitude closely resembles that of the Heracles of
its
can scarcely be doubted which of the Laconian deities
It
repre-
it
Pausanias^ in describing the Apollo of Amyclae says that he had a helmet
sents.
on his head, and a lance and bow in koyxyjv
8e iv
of the
statue
were
was
much
older
it
81
Amyclae, Sparta.
it
It
rat? X^P^^^
'^^^
finished,
ro^ov.
He
his
iirl
rfj
being like a brazen
it
made
throne
he
e^ei
Kecfyakfj
Kpdvo'Sy
adds that only the head, arms and feet
the rest of
than the
hands,
for
pillar,
and that
by Bathycles of Magnesia.
it
should be observed, was an Achaean city and older than the Dorian
would scarcely be
possible to
describe the figure on our coin
words of Pausanias,
accurately than in the very
may be
so that it
more
considered
Amyclaean Apollo, although, apart from the express testimony of Pausanias, we might rather have judged it to represent
certain that it
Athene,
perhaps
however would as
a copy of
is
the
Athene
Spartan
the
considering the date
certainly,
whose
Chalcioecus,
statue
Gitiadas
not be so rude
master,
of that
by
this.
more advanced chainstance, which Diomed bears on coins of the extreme, and the lance in the raised
Coins offer us several figures of Pallas of a scarcely racter than
this.
Argos
35),
hand
(viii.
of the
The Palladium, for is rigid and stiff in
goddess reminds us at once of the Amyclaean
figure.
So too the
Athene Itonia on late coins of Thessaly (xii. 35), on those of Seleucus (xv. 17), and of Alexander Aegus shew us in the stiffness of their drapery and the rigidity of their posture that they are reproductions of early originals. It has been noticed that the figure of Pallas which holds the middle place figures of
more archaic than the forms of the contending but the type on our coins is yet more primitive. Of Artemis we find heroes a very peculiar, and no doubt early, statue figvired on coins of Leucas (xv. Here again the draped figure is almost columnar in its stiffness; one hand 14). in
the Aeginetan pediments
viii. 35.
'^^- 35.
xv.
17.
xv.
14.
sv.
29.
is
;
holds an aplustre,
long sceptre
other rests
the
Sidonian
Dove and
surmounted by a dove.
Astarte far better than Artemis, and a
on the head of a stag
original,
at
least
a
we
statue
aplustre
while behind
;
alike
are inclined to see in
executed in
eai-ly
is
a
would beseem
this figure, if not
times under Sidonian
influence.
We
can produce two instances in which valuable copies of celebrated works
of sculpture of the archaic period are preserved to us on coins. of
Athens (xv. 29) we
arrangement of figures.
We
hair,
find a figure of Apollo,
stiff
and
rigid,
On
a late coin
with an archaic
holding in one hand his bow, and in the other three small
can scarcely be mistaken in
Apollo of Delos, executed by Tectaeus sanias^ as holding in one '
hand a bow,
in.
19.
2.
seeing
here
Angehon,
and
a
representation
of the
and mentioned by Pau-
in the other the three Charites or Graces. ^ .
.
IX.
35.
ART AND MYTHOLOGY OF COIN-TYPES.
82
Of
preserved are on coins and a gem.
this statue I think the only copies
In
the case of another celebi'ated statue of Apollo, that executed by Canachus, and
Didyma near Miletus, we have small copies in bronze, one in the Museum. But that they were copies of it we should not have certainly
up
set
at
British XV.
15, 16.
known but
testimony of the coins of Miletus (xv.
for the
who
sent with frequency an archaic figure of Apollo, left foot
his
identify with the statue at
by the bronze
to it
which repre-
16),
stands erect, but with the
advanced, and holds out in the right hand a stag,
slightly
which hangs by his
left,
15,
side,
a bow.
is
Didyma, and
statuettes
that
we
it
we can
This figure
unhesitatingly
from the close resemblance borne
is
able
are
while in
them
to identify
of
copies
as
would be easy to add to these instances of the reproduction on coins of works of archaic Greek sculjoture, but enough has been done to shew the character and value of their evidence in this field, and we have reached Canachus' statue.
It
A
the limit set by the plate in the production of examples.
m
occurring
few more instances,
plate xiii., are discussed in our final chapter.
Eaeliest Types.
Turning now from copies executed at a
late period to the
which were
coins
contemporary with works of early Greek sculpture, we find a wide
Our
us.
invasion,
archaic
coins,
occupy
the
earlier coins
some
onto
respects
the
earlier
coins
is,
upper divisions
of Italy, in
Crete, the Islands in
that
plate
of
plates
and Gyrene,
in plate
unfortunate,
as
it
No
iv.
In
iv.
throws coins
plate
of
most ancient
the '
Italy
and
may
i.
those
in.
Sicily
time than about the middle of the sixth century, while
Persian are
second pair
of plates
are
This order our
of
date
many
disadvantage convenience,
we it
have
retained
our
arrangement
being an established rule
art of the it
West
ruder
pieces
from
of those
first jolace.
of
first
for
many
In spite of this
pair.
reasons to
Moreover, in
of
geographical
proceed along all
periods the
takes the lead and advances faster than that of the East,
seems to have a right to the
an
and more primitive,
among numismatists
the basin of the Mediterranean from west to east.
is
belong to the seventh century.
far
both in execution and in design, than any on the
the
of Hellas,
indeed the student will remark at once on looking at the plates that
of the coins on the
that
—
of the
those of Asia Minor.
Asia and some of those of Hellas and the islands
And
i.
period
those of Sicily, in plate
ii.
3rd and 4th plates.
before the
issued
before
field
so
ARCHAIC PERIOD, EARLY :— EARLIEST TYPES. It
would have been easy to form an early archaic and
83
a
middle
archaic
period of coins, the former extending from the invention of coinage in the seventh
century to about
Persian invasion of
and the
550,
B.C.
479.
B.C.
latter
may
It
from the date just mentioned to the
be well to point
out,
if
plan had
this
been adopted, which of the specimens on plates iii. and iv. would be included in the earlier class. We must remember that in the early part of the sixth century Greek sculpture was in its infancy, only here and there a statue of early Hellenic type standing in the temples
shapen
Oriental
works
Smaller
images.
But on the other hand the
existed.
amid rude true
of
sculpture
and mis-
stones
conical
can
decorative arts, closely retaining their ori-
ental character, were at a high point of excellence.
The
characteristic
works of
the time were such objects as the chest of Cypselus, the throne of the claean Apollo, and the vases painted with rows or tiers of ai^e
Museums.
to be found in all great
Phoenician or Egyptian
have
scarcely
men and
Amy-
animals which
Beside these circulated works of unmixed
such as the bronze and silver bowls which have
fabric,
been found in so many lands, Assyria, Cyprus,
Italy,
&c.,
the tripods adorned
with the forms of animals and monsters, which reach us from Etruria, and the rude terra-cotta
which are found
idols
should anticipate, what
is
abundantly
so
in
Hence we the time would
Cyprus.
the actual case, that the coins of
resemble early vases rather than early sculpture, would represent animals rather
than
deities
or
heroes,
and would bear the impress of
oriental
rather than
of
Hellenic art.
Among
the earliest representations on coins of Asiatic Greece
which occurs at Phocaea
of a seal
on the earliest inscribed coin^ Halicarnassus, and a chimaera
(iv.
(iv.
7),
(iv.
15,
16^
17),
is
found
iv.
7.
supposed to have been issued at
iv.
8.
iv.
9.
is
two last I have also punch-mark, which is the best pledge
In the case of the
(iv. 9).
represented the reverse of the coins, a i"ude of real antiquity.
the figure of a stag, which
which
8)
the figure
are,
To the same age belong the extremely rough lions' heads the forepart of a stag (iv. 18), and the monstrous shape com-
iv. '
posed of lions and calfs heads joined (iv. 13). All these figures are entirely devoid of the distinctively Hellenic element, -
several
of
them
are
monstrous, and
from Eastern sources.
we cannot
positively
Some
of
say which,
remind us of nothmg
so
them for
They
at this period no distinction.
much
all
as
the monstrous forms in Greek art come
are the
work
of
Lydian
artists,
though
between Lydian and Greek work there are
is
crude and without distinctive style, and
the paintings on the very early Greek vases
of the style called geometrical, such as are brought from Thera and Cyprus and Athens. They are scarcely superior to the wretched productions of Esquimaux,
Mexicans, and other barbarous races, or even of the primeval savages '
Num,
Chron. 1878,
p.
who were
262.
11
—2
{^ [^ i"^'- ^^
ART AND MYTHOLOGY OF COIN-TYPES.
84
mammoth and
contemporary with the
But turning
remain.
still
an epoch certainly not m.
26.
III 20 III. 9.
Corinth
(iii.
26),
mentioned
last
of
those of
(electrum), all
as
a
is
(iii.
well
as
20),
coin of Thrace
horse \
the stamp to
it
of
its
of the
It
9).
(ill.
Pegasus
19),
of
and that
reverse,
true that this Centaur
is
human of
fore-legs
which
the
appear instead coin
and the roughness of
The head Athenian art. The
an early date.
one of the very earliest works of size
(ill.
material
the
nevertheless
the
is
the group representing a Centaur
as
not of the early form in which
compel us to assign
and the
these
the head of a Satyr perhaps from Naxos
form,
its
Among
kind.
distinctive
nymph on a
carrying off a
than the middle of the sixth century works of a
later
from Athens
^^ Pallas
many of whose carvings projoer we may discover at
cave-bear,
the coins of Hellas
to
more interesting and more
the
of Pallas
is
is
made style
its
important
projection of the nose,
almond-shaped eye^ pass the custom
of
even archaic
art,
and belong to the very infancy of local design. Thiersch has instituted a comparison" between the type of head on early Athenian coins and that usual in Egyptian not the of
reliefs
;
earliest,
but the specimens of Athenian coins on which he but distinctly of the later archaic type.
Athens remind us
what
less of
is
is
a work of extrem.e boldness and unconventionality.
and a long pointed beard, and hair which
ear
heavy mass,
like
East
derived from the
until
the days of Praxiteles.
of his
falls
the hair of the Apollo of Tenea.
form,
a form which
;
The
The very early
Egyptian than do those of the
they are akin rathet to Cyprian and Phrygian types.
artist
of
is
how poor
soever
as
works of
He
of a stunted
and
coins
century
has a high pointed
down Here
his is
neck in a long
another monstrous
gradually modified and softened
our coin has understood
art,
are
The head of the Satyr
are
in
spite
Moreover,
yet clearly Greek.
the bud and not the flower, but the bud of a beautiful and
are
fifth
clumsiness to give the head something of Satyric expression.
these figures,
relies
fruitful,
They not
sterile tree.
Italy.
Of the middle archaic period of Greek art, which we place in B.C. 550 We will begin with Italy, 479, we have abundant and interesting specimens. the archaic coins of that district occupyiBg the upper part of plate i. The cities of Magna Graecia had attained considerable proficiency in metal-work, alike Both forms of Centaur, those with human and those with equine the early temple of Assos, lately excavated by American scholars. ^
^
Overbeck, Griech. Plastih,
I.
p.
24
(aeconcl edit.).
forelegs,
appear in the sculpture of
ARCHAIC PERIOD, EARLY :— ITALY. as
when the
regards design and execution,
85
of coinage reached them.
invention
So we find here no rude lumps of metal with a mere punch-mark on the reverse, such as are the coins hitherto discussed. On the contrary, we find the care, neatness and elegance, which, combined with stiffness and want of practice, are
the distinguishing marks of the best archaic work of Greece and Etruria. of the
fabric
earliest
on the obverse incuse,
money
Italian
a figure in
is
but turned
in
The
peculiar.
is
pieces are broad
and
and on the reverse precisely the same
relief,
the opposite direction so as to
repouss^ work to the corns themselves
the
give
The flat
figure
appearance
of
and doubtless^ when they were minted,
;
repouss6 work was extremely usual in decoration> scarcely any other process being
But the appearance is in this case misleading. Two distinct dies, both carefully executed, must have been used, and the blank placed accurately between them. Plate i, No. 1, will shew the peculiarity to used
bowls and tripods.
for early
which
the incuse eagle from the reverse of a coin of Croton
refer;
I
12),
(i.
J-
1-
1.12.
being also worthy of careful observation for neatness of execution.
We of the cities.
most interesting of the
A
striding
back to him as hand, which
figures
advances,
(i.
long task.
towards a stag who
unclad,
entirely
little
is
a branch, perhaps of laurel
figure,
The head
of
with winged
naked, this
smaller figure
the explanations which have been
all
1),
claiming pi^otection or welcoming his approach.
raised,
is
each hand.
detail
figure
if
extended, runs a in
what must be considered one which have reached us from the Greek
have from Caulonia at this period
That the central
figure
is
is
offered
Apollo
may
on his
;
In his right arm, which
left
is
and holding a branch
feet,
also
looks
To
turned backwards.
group would be a
of the
be considered fairly certain.
His attitude towards the stag may then be fairly supposed to be one of protecBut the tion, and this may be indicated by the twig in his raised hand. smaller figure
is
He
an enigma.
vient to his will and busy
iii
seems a counterpart of the larger, yet subser-
his service, as
he looks back to him while running.
In a very charming and ingenious paper Mr Watkiss Lloyd' proposes the theory that the larger figure is Apollo Catharsius, the cleansing God, and that the smaller figure observes,
is
name, and
is
a place noted for strong breezes, as its
windy
situation
tainly
this
excellent
the wind with which he cleanses the is
Caulonia, the writer
air.
indeed implied in the very
mythical founder was Aulon or Typhon.
It
may
be that to
the inhabitants attributed the healthiness of the
violently-moving
impei'sonation
of a
little
figure,
wind-god,
with his winged
and the
branches
feet,
in
town.
its
Cer-
would make an
his
hands
would
be the boughs of the trees violently shaken by the wind. On the whole Mr Lloyd's theory seems not only ingenious but also sound, and preferable to those of other writers, that of Ptaoul-Rochette who identifies the smaller figure with '
Num.
Chron. 1848.
1.
1.
ART AND MYTHOLOGY OF COIN-TYPES.
86
KaOapiio^, or that of Katligeber
cleansing,
plausible or
^6\o'i
who
him
calls
The most embodiment of the
fear^
view would be to regard him as an
alternative
wrath of the Apollo, who
Set^os.
about to attack the enemies of the deity
is
with a swiftness indicated by the wings of his
and an energy corresponding
feet,
to his attitude.
Second in the plate
1. 2.
a
is
figure
of Poseidon
wearing only a chlamys passed over both arms.
thrusting
The forms
with a trident and are
stiff
and
rigid,
the anatomy strongly but conventionally indicated, just as in the early figures of
on the ground.
athletes, the feet flat
who
.It is
manner
are clad in this particular
in early art are
what may be the cause why the chlamys aj^pear
unless indeed
;
deities,
we
worth observing that the two deities
find it in the
Poseidon and Pallas, but
particularly belongs special
to
them does
Thessalian cultus
of both
the chlamys being in a marked degree the garment of the
tiot
these
Thessalians.
two coins of the plate the well-known peculiarity of early reliefs, viz., that the head and the body below the waist are represented in profile the rest of the body between waist and neck faces the Overbeck^ has discussed the question whether on the archaic coins of spectator. Tlie student should
notice
the
in
first
;
Poseidonia the head of Poseidon
is
always bearded or sometimes youthful.
This
he considers doubtful, and remarks that the form of the god is sometimes disIn my opinion the head is always bearded, and the apparent tinctly youthful. youngness of the figure is rather a result of archaic stiffness and meagreness of
any intention to represent a young Poseidon. Poseidon is here represented in an attitude of attack, as to which we shall have more to say hereafter, apropos of later instances of the same type. As our coin can be given, outline than of
almost with certainty, to the last half of the sixth interesting standard for the assignment
works of archaic
who
is
from Tarentum.
holds apparently with the
under the
left
to
statuettes
B.C.
it
an
affords
and other extant
art.
No. 3 of our plate
1. 3.
of date
century
arm.
This also
It represents
hand a fiower a type which has
a young male figure,
right
to
is
raised
his
nose,
and a
controversy.
lyre
Some
a figure of Taras, the civic hero of Tarentum, the son of Poseidon, who came over the sea on a dolphin to found the city of Tarentum. Certainly Taras see in
it
the usual type of the Tarentine coins, but the flower and lyre seem inapproOthers, with better reason, believe the figure to be Apollo. priate to him. In that case the lyre will be thoroughly appropriate, and the flower perhaps scarcely is
less
so.
The exact meaning The
of the latter attribute
may
still
be disputed.
Is
it
appropriate to the sun-god in Thrace and in other reo-ions Perhaps, however, it js a hyacinth. as well as at Rhodes. In that case we have a pleasing allusion to the legend which tells of the love of Apollo for Hyacinthus. a rose?
rose
is
^
Kunstmythol.
iii.
p.
222.
ARCHAIC PEEIOD, EARLY :_ITALY,
87
Hyacinthus
was the youth whom Apollo was said to have slain by accident with a discus which is but a mythical way of recordmg the way in which the flower called by his name springs up to greet the sun of spring, but is withered ;
by the red disk of summer sun. Apollo Hyacinthius appears in fact to have had a cultus at Tarentum and it would seem that the most attractive rendering ;
of our type
Mr
not the least probable.
is
Millingen^ objects to the identification with Apollo on
so great a deity
But
would be represented
the
as standing proudly rather than as kneel-
objection
does
not
ance for the restrictions imposed by a circular
field.
If
ing.
3,
we
in
place,
first
this
make sufficient we turn to plate
allowx.,
No.
on a Cyzicene stater a kneeling figure of Helios leading two horses
shall find
and there are two kneeling
Millingens objection then
many works
a class far too common in
under Nos. 2 and
figures of Victory
kneels on coins of Cyzicus.
is
;
Even Zeus
24.
a mere assumption, of
And
of Classical archaeology.
has been disputed in regard to this class of figures whether
secondly, it
word kneeling
the
Prof Ernst Curtius maintains that in consider-
properly describes their attitude.
we must make the curved border of the and remarks that if we do so we shall see
ing them line,
the ground that
coin in thought into a straight
that
knees
the
are
some
at
distance from such line, which represents the ground, so that the attitude of the
We
figures will be rather that of running than that of kneeling.
look on as far as the Gorgon, No.
in our plate, to see that the ancients
6
way
represent the action of running nearly in this for the
Gorgon's
knee
left
is
Whether the understand what i-easons made
action
a favourite
it
fill
a circular
a
is
as
foot,
did
i-
*^-
i-
^
i-
s.
distinction,
the
is
case
be running or kneeling, we can readily
with Greek
subject
arms and legs are extended
early time, as in it both
portrayed and to well
but there
]
not on a level with her right
with our Apollo.
have only to
of an
artists
so as at once to be readily
field.
In No. 4 we have Taras riding on a dolphin.
That he
still
is
sea
at
is
by one of those symbolical devices so usual among Greek artists, the introduction below of a bivalve shell. The execution of the figure of Taras on
made
clear
later coins is very different
and more
deity Melcarth,
we may conjecture who also was said
of a dolphin.
No.
preserved, a-nd
the
figure
earliest
wears no clothing. branch the
of
vine.
majestic
archaic,
type,
5,
finished,
that
it
is
but the attitude
to have been borne
He
We
existence.
in
holds in one
have in
clad
here
an
trailing
Ionic
but the actual antiquity of which '
Numism. de VAncie^ine
of
main
over the sea on the back
The
deity
hand the wine-cup, idea
in the
from statues of the Tyi^ian
copied
from an uncertain Greek city of southern
of Dionysus
is
in
is
Italy, is
bearded, the
other
probably
but a
he long
Dionysus entirely different from
robes,
which
is
often
designated as
may
perhaps be suspected.
Italie^
p.
107.
In
our
ART AND MYTHOLOGY OF COIN-TYPES.
88
coin
there
not only rudeness of outline and a Satyric cast of features, but
is
Hence
even a considerable trace in the long vine-branch of naturalistic meaning.
some have preferred
to consider the figure a Satyr rather
we have
I should prefer to think that 1. 6.
that the vine and he
Etruscan
coin,
are
not
completely
of the
of horror such as
and
the Greeks
and holding
in
the
for
to
offers
it
each hand a
us,
most part serpent.
vine himself,
but
No.
an
distinguished.
probably the earliest of Etruscan coins, though
older than the fifth century,
I'unning
yet
as
God
here the
than Dionysus himself.
in
fashion, a shape
avoided,
carefully
m
Remarkable
this
the wings and the drapery, both executed with extreme neatness. the feathers overlap one another
much
has contrived with
appear through limbs of 1,
We
7, 8, 9.
as
clearly
make
to
is
seem
it
and strongly as
women are seen through now reach human heads,
and Cumae,
theii^ light
and
7
8
in
or at least of deities,
in this case, although the
is
semi-transparent.
figure
are
the
artist
The
limbs
Egyptian wall paintings the
dress.
female heads of
turned
Gorgon
a
In the wings
not elaborate but
9 a male head, that of Taras, from Tarentum.
hair of men,
But
it
skill
the drapery
;
is
can scarcely be
it
Etruscan
6
up behind
male head has long
Nymphs from
Velia
In coins of Sicily the like
that
hair, short hair
of
being
women.
mdeed
most unusual before the Persian wars, it is not trimmed in feminine fashion but put in a braid and wound round the head in the manner of athletes. The front part of the hair in the female heads
by
is
represented
by
dots,
the
hinder
and no one can examine early sculpture without seeino- that this arrangement is exactly paralleled in it. The short crisp curls over the forehead part
lines,
in archaic statues
are
instance I would take
supplemented by rigid the
corner
figures
lines
of the
of hair at the back.
Aeginetan
pedmients,
As an whose
heads, looked at in profile and reduced in size, almost exactly resemble those on early coins. Great prominence of the nose, an eye Avhich looks outward towards
the spectator, a rude mouth with corners turned upwards, a very low foi-ehead these are the distinctive marks of archaic heads, and are to be found not only on our first, but also in the succeeding plates (ii. 5 8, &c.).
—
1,10. 11.8.
The man-headed bull from Latls, No. man-headed bull of Sicily (ii. 8). In the
curled'
is
of very different type from the
Italian coin the
head has much
ele-
turned up behind and confined by a cord, the pose is The figure reminds us of the Assyrian man-headed bulls 'oiled and
gance, the long hah' dignified.
10,
is
and with long formal beards.
coarse features,
short stubble-like hair
The Sicilian bull, on the other hand has and the horn and ear of a beast. He is
swimming, and no doubt represents the river Gelas, looked on as an embodiment of rude and untamed forces of nature, as a parallel being to Satyrs and Centaurs. But his Italian counterpart may have represented other ideas, and be indeed Dionysus,
who was
largely worshipped in bovine form,
more
especially in
AKCHAIC PERIOD, EARLY :— SICILY. South
Dionysus. Lalis is
On
Italy.
It
is
the coins of Neapohs the man-headed bull
however,
possible,
on later coins of Latis
lost
that
due to the refinement of the
is
89
the
who
of the
refinement
greater
artist
almost certainly
is
designed him, for
bull
much
of
of
it 35.
I.
35).
(i.
'
Sicily,
We
will
nest turn to plate
li,,
the upper part of which contains figures of
coins of Sicily in the archaic period.
1
and
2 are the
remarkable archaic piece of money issued at
the
small
obverse bears the legend
the reverse
is
two
town
of
and
his
body fronts the
the absolute like
^>
^
Dionysus clad in a long chiton which leaves his arms enthely
his
;
H-
The
Galaria.
hands hold a wine-cup and a branch of vine. His head and accordance with the already cited canon of early art, are represented in free
most
sides of a
ZOTER retrograde, and a figure of Zeus Soter seated on his hand a sceptre surmounted by an enormous eagle.
a throne, and holding in
On
Nos.
stiffness,
spectator.
It
would not be easy to
the wooden pose of these
puppets than Hellenic
find
figures,
little
feet,
in
profile,
a parallel for
more
which are
Almost equally stiff are the Nike and the and 4) which also form obverse and reverse of one
figures.
Pallas from Camarina (Nos. 3
n.
3, 4.
and in which the same ideas of perspective prevail. The Pallas stands stiff and upright, leaning on her spear, with a shield at her feet. Her left hand rests on her hip, and the serpents of her aegis project like a fringe behind her. She is not like the early Palladia, but it must be confessed that in spite of
coin,
the abandonment of the old level she scarcely
Very
doll-like also is the
her feet
is
Nike who
floats
rises
in the
above the dignity of a puppet. air
a swan which seems to signify or present the lake of Camarina as
Both Goddess and swan To the former we shall return when we come olive-wreath. Passing the long hair and the pointed nose and beard
the
scene
frequented
by Nike.
Dionysus from Naxus (No. phins.
5),
These are Syracusan,
represent the
nymph
we and,
Arethusa.
a fountain of fresh water which
supposed to emerge from a
bolically G.
enclosed
are
to the next period. of the ivy-crowned
if
the current interpretation
The name Arethusa was given arose
fissure
an
in
reach two female heads surrounded by dol-
at
in the
the sweet water of which was thus on fountain
At
with outspread arms.
all
Ortygia, but
of
be true,
they
at Syracuse
to
which a branch was
ground at the bottom of the harbour, sides surrounded
by
salt
water.
This
nymph's head, and the salt-waves round it are symrendered by three or four dolphins which swim round the head on the
is
embodied
in the
12
ii. 5. ii. 6, 7.
ART AND MYTHOLOGY OF COIN-TYPES.
90
swam round
as they
coin
the spring
heads I have already spoken, but I
Of the
itself.
may add
technical rendering of these
one well-known characteristic, which
has been frequently observed in works of archaic sculpture.
The
ears are placed
too high, their centre being about on a level with the eye, instead of their upper
In this respect, indeed, we find on coins considerable variety, but on the
edge.
whole,
II.
9— 12.
we compare
the specimens on plate
13.
course of the period of transition the position of the ear gradually changes,
and
it
Of
sinks to its true level.
day on
coins
Greek
that before
Himera (No.
of
art
learned to
13)
and truth
represent
human
The cocks
of a later time,
the type, and scarcely greater truth to nature.
is
great improvement in the design.
Zancle in
of
Sicily.
tongue of land which enclosed of land
which
with risings water
of the
changed the
No. 14
This its
city
is
deiived
harbour.
harbour
name
its
may
to
is
pi.
Myron
xvi.
very
w^as
un-
On
its
stand for houses and
B.C.
490,
difference
little
does
in
however,
not,
It represents
name from the
the
sickle-like
our coin the enclosing tongue of
sickle-like
fortifications,
form,
while
embodied in the dolphin within that
Messana about
are executed
3,
we could not expect a
very interesting.
conventionally represented by an object
is
with truth long
of
This bird
the same scope to art as the nobler eagle, so that
harbour
will
of the thesis
illustration
The cow
frame.
we
symbol of the god of
with sphit and
animals
indeed with more delicacy and refinement, but there
offer
— 12)
In the same way this bird of ours leaves in energy
be desired.
little to
shall find
figures as the
worth observing in
is
could fairly deal with the
it
ii.,
chariot-types and of horsemen (Nos. 9
The cock who
surpassed by later sculptors.
11,14.
that
the
all
speak under the next period. n.
we
in
if
so that there can
marked
the actual
sickle.
Zancle
be no doubt as
which proves what kind of representations of places were current in Greece at the time of the Persian Avar. At a somewhat later time Zancle w^ould probably have been personified in a nymph. to
early
date
of
our
coin,
Hellas.
From all is
Sicily
to
northern Greece
delicacy, refinement,
Greece
we
is
a long step as regards
careful minuteness even in
art.
archaic times
;
In Sicily in northern
on the contrary a rude and somewhat barbarous vigour, turning indeed at a later period to largeness and energy of design, but at first very find
rough.
On
the third plate, however, will be found not only specimens of the numismatic art of northern Greece, but also of Athens, Boeotia and the Peloponnese.
ARCHAIC PERIOD, EARLY —HELLAS. Necessities
of
to be regretted theories
of
peculiar
that the
themselves
early coins
arrangement;
this
which
however
is
it
opinion^
to
to
somewhat confuses the evidence for and against certain put forward by high authority. Professor Brunn has pub-
as
art
lished his
me
compelled
space
91
early
and
;
coins
northern
of
would naturally
it
have a character
Hellas
be
desirable
to
examine the
of Peloponnesus apart in order to discover whether they resemble in
character the remarkable reliefs from Sparta and other places in Peloponnesus, of
which
much has been
so
But we must do our best, taking order the two subjects just mentioned.
said of late years.
the plates as they stand, to discuss in Prof.
Brunn s
theory
of
and
defined.
As the
representatives of that art
clear
and
Polygnotus,
and
exhibited alike
is
and
period,
in a
Brunn
Prof.
such
of coins
and lack of
certain convention
finds
and the
of Thasos
abundant instances Nos.
as oiu'
1,
Its tone is distinctly Asiatic,
special study
Thracian
The
' :
and massiveness, even
of extraordinary breadth
'
the oldest metopes of Selinus
;
also,
in
'
of their solidity, are
'
in a fairly accurate rendering of general forms
by no means wanting
^
in
developed in consistent
is
in ;
coasts,
Speaking
view.
excelling in
these
resj)ects
the
relief,
Yet these figures, in spite consistency and proportion, nor
sometimes even we find charac-
In the heads of Satyrs and Centaurs their rude
rendering of detail.
animal character
and Macedonian
after
figures are in their outlines
far
stand forth in great fulness and volume.
forms
'
and striving
the modelling of the high
'
teristic
take, in painting
for the illustration of his
he remarks
2,
^
'
we may
is
the massiveness of the forms, especially in the early
in
In the coins
perfection.
Paeonius of Mende.
sculpture
in
the character of the art of northern Greece
style.
Finally,
we do not
discover
the execution any helplessness, but a skilful use of the means at so early
*a period available,
a mastery of workmanship which endeavours by the intro-
'duction of detail,
such as dotted
'
and knee-cap,
^
this
'
trace
peculiar
to
soften
and
lines
is
the
hair,
and indication
of ankle
the heavy appearance of the design.
refine
style of treatment
in
original
is
shewn by the
fact that
That
we may
a distinct development in this class of types, the Satyrs of Thasos for
up to the free and fine style of execution in detail, while yet the In the probably more recent 'attitude and grouping are preserved (cf. iii. 28). Hype of a warrior leading two oxen (iii. 4), of a kneeling goat (in. 12), and 'of horses, we cannot but recognize a power of clearly characterizing forms of 'animals... In the coins of Acanthus (No. 13), with the continually varied type instance,
'
of a lion tearing
'style.'
'in ^
an
ox,
we
find a surprisingly developed specimen of decorative
'Taken together these
itself
a separate province as
Paeoiiios
und
die nordgriechiscJie
shew that the Thraco-Macedonian region is regai-ds the history of art, a province marked
coins
KunsU
Proceedings of the Munich Academy^ 1876, PhilosojMsch-
'
philologische Classe, p. 315.
.
'
12—2
ART AND MYTHOLOGY OF COIN-TYPES.
92
'
by
^
nings
'
least
'
j&fth
special
may go back
many
bloom of art
the
full
and broad treatment of the
(cf
in.
instance,
for
struck on the
Asiatic
*
We
'art.
'figures,
this
of
districts
and
art,
older
trace the
Aenus
coins of
these
are
very
the
yet
which
of Asia
influence
in
points
only
'
of execution
the
in
although of course
;
it
only criticism of the
and
it
the
same paper
is
crown of
partly
;
style
of
a
of
set
The theory
as
It is almost the
written by so great a master to the art
of Paeonius
met with
scarcely
his
and might survive even
theory,
if
which in .
general accept-
and almost the whole of plate
of plate in.,
in.,
words by
Nos.
14,
15,
were given up.
it
vii.,
in
them a
of
theh production.
cei^tain
24,
16,
25,
42,
41,
massiveness and force which
But we cannot venture
to the nether deities
the style
so
is
distinctive.
rudeness of provincial style,
to
and
2,
2,
ample
specimens of
50, are
43,
At a
say that
Our Eleian coins but are worthy of a
we
we can
glance
near
especially district
find
see
Sparta,
have
them any-
in
especially
relief,
which have been found
some sense the art metropolis of Greece. We must however return to speak of our 1
afford the reader
1,
seem to belong to the country
thing which especially reminds us of early Dorian reliefs
Lines
facts.
Peloponnesian work of the period before Polycleitus.
Nos.
by the value of the
of the writer.
coins
Brunn develops has
Prof.
Again on pL
III. 1. 2.
the individuality of race
partly
justified
by the eminence
thoroughly founded.
material for testing the
in
and manes, but
but his remarks on the coins of Thrace form the foundation and not the
;
6
early
in the conventional character
modified by
must be
of this quotation
remarks contained in
5,
is
of
district.'
The length
ance
all
style of
this
breadth
of hair
of
oldest
connexion with
a
to
exaggerated
the
the
that
influenced
certainly
'also of certain details, especially the legs; finally, '
In spite of the
9).
circumstance
Asiatic standard
civilization,
vii.
35,
the decorative accentuation not
in
of the
has influence even in the time
of
coins
to say, until the middle
is
still
Hermes) 'on
(of
and which can be traced at
particulars this style
see,
;
that
art,
of which the rude begin-
style
the sixth century,
native character
'
*
In
century.
'heads'
into
far
the end of archaic
as far as
of the
'
by a peculiar
characteristics,
artistic
those
and whereof
nothing of the
which might be termed -
coins one
votive
by one
in
,.
"
more
detail.
from Lete in Macedon, display in the highest degree that bulki-
ness of proportions above spoken of
This peculiarity, reminding us at the
first
marks both the beast-like Satyr, who here has horse's hoofs but no tail, and the Nymph whom he holds by the hand, and whose chin he caresses in order to propitiate her. The attitude of this nymph expresses in a most naive fashion her surprise. It is notcAvorthy that these nymphs are glance of Assyrian
reliefs,
carefully draped in a long
chiton
and
a
curious
tightly-fitting
upper garment
ARCHAIC PERIOD, EARLY :—HELLAS.
93
naked nymphs belong to a later period. Two more nymphs are represented on No. 6, which coin however belongs to a more civilized district. They are raising an amphora of wine and, considering the period, their attitudes are not unskil-
With
fully drawn.
we may faudy compare the
this type
one behind,
e.
from Thessaly in
relief
two women holding a flower. More refinement still appears in No. 14 from Ehs, where Victory is depicted with square and thickset frame indeed, but sjDeed is well expressed in her gait, and her Doric chiton is represented in careful and accurate detail. With one hand she raises her dress that it may not impede her feet, with the other she extends a wreath to a supposed victor in the Olympic games. That her wings appear, one in front and Louvre
the
in.
representing
of the attempt at perspective
a result
of course
is
;
all
ni.
u.
in.
3.
her body,
from, waist to neck, fronting the spectator.
No.
3
a
is
stiff figure
of Poseidon Hippius from Potidaea
to be without clothing,
and bears
quite the earliest figure
known
gestion of sea shell or fish
;
the horse
we might
a
new
trident
like
a lance.
an ordinary land-horse, and
is
expect,
the deity seems
This
is
There
of Poseidon in this character. below^^
I is
in place
the well-known symbol of the sun.
is
Nos. 4 and
not easy to explain.
his
;
believe
no sugof the
All this
is
bring us to a class of Macedonian coins with
5
iii. 4,
.5.
Hitherto the representations have been either of deities or
sort of type.
of those embodiments of rude forces of nature which were considered half-divine,
\
But now we reach what appear to be scenes from youth wearing the petasus and holding two spears drives a
such as Satyrs and every-day pair of
life.
A
oxen (No.
4),
a rude lumbering
meaning
Ptivers.
or leads a horse (No. 5), or (as in other specimens) drives
country-waggon drawn
in these types
?
I
am
inclined to
Can there be a religious think that there can. One need not
by
oxen.
go so far as to see a solar hero in our Macedonian, though that explanation is not absurd, as in early times men always thought of the sun as chiving a car
we may with
or riding a horse, but
greater probability reckon
hun
as a mythical
hero or ancestor of the race, possibly some demigod who, in Macedonian legends, of
which we know little, may have invented the bridle or taught the use of waggons. Animals and man alike disjDlay the Assyrian characteristics of massive limbs and The next Macedonian coin, No. 7, represents Hermes, rigidly-accentuated muscles. as
an unwingecl
ceeded,
pams
of
No.
8,
wings,
running
at
speed,
by a second running
figure.
figure,
one
springing
fashion from the waist.
from
The sex
with the sex the personality.
If
the
of this it
holding
the
caduceus.
He
is
suc-
In this second figure there are two heels
and one
figure
may
in
thoroughly oriental
perhaps be disputed,
and
be female, though this seems scarcely likelv
from the scantiness of drapery, it will probably be termed a Gorgon, in spite of If however, as seems more likely, the figure be male the absence of serpents. The rose in the field would seem to indicate that it is a it is very interesting.
in.
7, 8.
AET AND MYTHOLOGY OF COIN-TYPES.
94
and
sun-god, possibly
may
it
would the
so
symbol dimly seen in
chcular
be a winged Cabenus, as the
tlie
hand,
left
or
much venerated on
Cabeiri were
the Macedonian coast.
No.
III. 10.
from Dicaea
10
a
is
Satyric character of the hero is
is
head of Heracles
we cannot say
also observable that
marked
clearly
in. 11.
from
One
early coin
Aeneas
group,
a
in
is
No.
said
11
which
Anchises,
and
Creusa
head of
a
is
have founded.
to
city,
carrying
now
is
at
carrying
Ascanius.
12,13.
of
great
The myth travelled to many lands in connexion with the worship of Aphrodite surnamed Aeneias. Nos. 12 and 13 are good instances of the adaptation of animal figures to a circular field by bending the legs and turning the head back in case of the goat, and by a careful adjustment of figure in the group of the lion and bull which forms the quite Homeric type of the coins of Acanthus. The manner in which the shaggy skin of the lion is rejDresented by dots is noteworthy. value in connexion with
III.
A
Berlin-*,
These solid testimonies to the antiquity of the myth of Aeneas are
Roman
on to
fitted
is
It
were the change
sees as it
same
of the
features.
the true type and a
is
j)rogress.
which the
in
of the
cast
head
lion's
Macedon, a city which he
in
more interesting
exhibits
anthropomorphism
to
Aeneas from Aeneia still
in the
face merely looks out betAveen the jaws.
animal- worship
skin
lion*s
here that the lion's scalp
the hero's head as on later coins, rather the
human
in
legend.
Nos. 15 and 16, from Arcadia, give us archaic representations of the Arca-
111.15,10.
dian Zeus, the
God
The pose
of the
closely as
we know
of cloud
and tempest, whose throne was on mount Olympus.
and the arrangement of the drapery over the knees closely resemble those of the statue of the same deity set up by Pheidias in the temple at Olympia which is preserved to us on a coin (pi. xv. 19), the more figure
that in the present coins the throwing back of the left
which holds the sceptre tive.
But
is
the mere result of the primitive attempt at perspec-
will be seen that in the
it
second of our two coins
above the outstretched hand of Zeus, and does not touch impossible
in
ah-eady laid
a
statue
down
;
holds,
we may
made
his
Yet
it
of position "and
be
sure
that
good times
it.
in
of art
the
This this
is
eagle
flies
a motive
case
a
rule
never closely or
becomes abundantly clear that not much attitude rested with Pheidias when he
statue; the type of the Olympian Zeus, as
he must be, was already
minds of Greek men and probably existed in statues such as the colossus of Zeus set up at Olympia by Cypselus. Almost exactly similar to the second of our coins in type is a didrachm struck in Elis before the Pheidian age. In No. 17, which was struck at Gortyna in Crete, but has, unfortunately, lost fixed in the
III. 17,
therefore
that coins in the
intentionally reproduce a statue. latitude in the choice
arm
its
surface from friction,
:
we ^
have, I
believe,
ZeitscliT,f.
Nitmism. vn.
the earliest existing representation p.
221.
ARCHAIC PERIOD, EARLY :—HELLAS. of
Europa riding on the bull
She
alarm while the other grasps the
which belongs
group,
colonies, the
especially
mantle of Europa
draped and stretches one hand in back. In later representations of the
closely
is
bull's
the
to
Phoenician
who
also
is
whom
she
is
closely associated with
the
bull.
of
here a case in which the later representations
to
Phoenician
ease,
resembling
and
coast
and she seems at her
floats free
indeed far more nearly that moon-goddess variant form, and
95
be a
supposed to
We
have then
group have truer meaning
of a
The close connexion existing between the Europa myth and the city of Gortyna will come under our notice hei'eafter. No. 18 from Cnossus m. has for type the Minotaur kneeling or running and holding in one hand a stone. That the head is not, according to usual custom, in profile, may be due to the than the
earlier.
'
familiarity of the
heads facing, which
die-cutter to bull's
may even
is.
thus early
have adorned temples and altars. The coins of Cnossus are full of the Minotaur and the Labyrinth, a fact the more remarkable because remains supposed to be those
of the
female heads, Nos. 21 of the
deity
now
Labyi^inth
—
25,
the
is
fii'st
execution
Its
city.
near
exist
Gortyna,
the eyes,
alike being rendered with conscientiousness, yet there
which
at
will
once
strike
the
The
student.
else
armed
the
of
was
in the market-place
Perhaps
earring in the second of our coins
is
24
is
five
lips
and hair
and third are beautiful
first
sight imagine of Pallas, close
translation
of
The attribution must remain un-
of Corinth
Aphrodite ruled in the Acropolis. No,
Of the
also a certain coarseness
who was a somewhat
Aphrodite,
Astarte, the goddess alike of arms and love. certain, for there
eyebrows,
is
second
heads from Corinth, either as one would naturally at or
Cnossus.
from Athens and belongs to the guardian m. 21-
careful,
is
not
it
may
a statue of Pallas,
be
questioned
while
whether the
not too ornate for the austerity of Pallas.
nymph from
the bust of Aphrodite or a
coins of CephaUenia.
It
is
frequently stated that busts are not found on coins and gems before the Alex-
andrine age,
but
this
exception,
which
is
in
fact
almost
unique,
danger of pressing too hard general rules even when well founded.
shows the No. 25
is
a
in. 25.
head of Hera from Heraea in Arcadia of very early type, and very coarse and heavy features. No. 27 is from Cyrene. The representations are of a m. silphium plant, the great object of Cyrenean culture, of a seed of silphium and of a lion's head. The silphium usually figures on coins of Cyrene, probably as veiled
the sacred plant of Apollo Aristaeus head, the type of Samos,
with that
city,
of which '
is
;
it
is
reasonably conjectured that the
introduced into the
we have
Cf. Mtiller,
field
lion's
as a token of the alliance
already spoken under Monetary Alliances'^.
Kumism.
de Vane. Afriqiie^
i.
p. 2.
27.
ART AND MYTHOLOGY OF COIN-TYPES.
96
Asia Minor.
Of the
We
been akeady mentioned.
scarcely find at
very seldom heads of
deities,
suited the Asiatic
which
tations
which occupy three
early coins of Asia
mmd,
this
of
lines
time in the East figures of
The symbol, which seems
deities.
many have
iv.
pi.
to have specially
takes the place of the direct anthropomorphic represen-
wei'e in favour in the
We
West.
however, a few interesting
find,
from Phaselis, a Greek colony in Lycia, gives us a rude group of Heracles wrestling with a man-headed bull, no doubt the river types even in Asia.
No.
Achelous who was his IV.
1.
in the
2.
the hand of Deianira.
rival for
Trctchiniae of Sophocles, line
way
infancy of art than the
IV.
1
This contest
is
mentioned
Nothing could be more redolent of the
9,
which the heads of both combatants, alike void of expression, are turned towards the spectator. No. 2, a horseman from Erythrae, has more style. Here the horse is in vigorous action, but there is a curious mistake in the
passes on the
been unable
right to
of the
case
side
in
of the
persuade
rider
horse's
himself
whose
The
perspective of the chest he has succeeded
holding
the
reins,
would seem to have conceal that hand. But in the
neck.
entirely
hand,
left
to
artist
exceptionally well
the
time,
his
for
nearer shoulder being raised considerably above the further. IV.
Nos. 3 and 4 merit a careful comparison
3, 4.
great
difference
when
reverses
Ares from
between them as to period consisted
Calymna, the
rude
a
of
latter
There seems no a priori reason
a
incuse
with both
;
one being
than
later
The former
merely.
There
another.
is
the
they should
so
but
differ,
it
time
a head
head of Pallas from Methymna in
why
no
is
is
of
Lesbos. at
once
art.
they present in extreme form the two tendencies of archaic Greek The head of Ares is rude to the last degree, whether through want of
skill
or
evident that
carelessness,
—unless
indeed what looks like the face
of Ares be
only an iron face-piece attached to the helmet, which seems not
the head of Pallas
carefully executed
is
though
adorned with a Avinged horse, and in the
field
full
a
impossible
of convention,
carefully
cut
really ;
the helmet
inscription.
The
would seem to be the work of an artist who inherited Assyrian and Phoenician ideas of art and skill m hancliAvork the rougher of one less
more
finished type
;
skilled IV.
5, 6.
Nos.
5
and
and
less 6.
instructed,
On
bears a superficial
5,
but
which
likeness
to
is
more
original.
The same contrast
an eaily electrum
that of Medusa.
coin,
we
find
also
marks
a head which
however apparently male, and the character which pertains to it is not the dreaclfulness which belono-s to the Gorgon, but mere grotesqueness. It would seem to be the head of the dwarf-god sometimes called, as by Eaoul-Eochette\ the Assyrian Heracles, whose L'llercide Assyrien.
It
is
ARCHAIC PERIOD; EARLY—ASIA MINOR. images were spread into
many
97
No.
lands by the Phoenicians,
from Chios,
6,
a refined and delicate image of the Sphinx, the symbol of the island. of the figures of animals
above.
But some
now under
of
which come next
them belong
consideration.
in the plate
we have
all
6.
Of some
already spoken
to the middle period of archaic
Nos. 10, 11, 12 are
isiv.
art
which
is
electrum staters of the Asiatic
iv. lo, ii,
12
coast.
Their subjects are respectively a sow, an eagle with a
and a
bull looking back.
The
about the time of Polycrates
;
last
is
certainly it
highly finished
is
but
in
the
field,
supposed to have been struck at Samos is
a
fair
specimen of the art which
probably flourished at his court, an art decorative rather Asiatic rather than Greek,
fish
finished
in
its
kind.
than
Likewise
sculptural,
and
decorative and
the type, No. 14, which combines the foreparts of a winged
and a winged horse, and shews in design a marked improvement on the clumsy helplessness of the type immediately preceding it in the plate.
lion
G.
13
iv. i4.
CHAPTER Later Akchaic period
;
III.
or period of Transition.
perhaps not a happy one, and I do In one sense every age is a period of transition not specially care to defend it. fanly be from one social condition to another; in another sense no period can Art, so longcalled a time of transition, for each has its own ideas and ideals. transition from one conit is alive and progressing, is always in a state of
The
phrase 'Period of Transition'
is
as
dition to another;
and
Yet there
ventional. earlier part
of the
transition, because
is
when
a sense in which especially the
art
century B.C.
fifth it
only ceases to be transitional
it
was becoming
the beggarly elements
of
Assyrian
can be said to
it
is
become con-
Greece in the
of
have been
in
a
state
of
and gradually quitting and Phoenician and Ionian industry, and
distinctively Hellenic,
If becoming a new light to the Avorld and a chief flower of human activity. we possessed only Greek works of art of a time preceding the Persian invasion we should look upon Greek art as a sister of the art of Phrygia and Lycia and
Cyprus; impulse.
somewhat If,
l^etter
embodying
than they, but not
on the other hand, we possessed
only
the
a
distinctively
works
of
art
new
of the
we should possess the flower, but be wholly ignorant we should possess the crystal, but not know of developed from
Pheidian and later periods
what bud it what elements it was compounded. For Asiatic to what is Hellenic is called the ;
Nevertheless the It
tive.
Greek
may be
sculj)ture.
title,
said
to
this reason the art
B.C.
'period of growth'
is
more correct and more sugges-
be a matter of opinion what was the greatest age of
According to a man's temperament he
430 to 330 a
is
art of the Transition.
of Pheidias or of Lysippus or of the Pergamenes.
from
which joins what
rise,
a decline or a
We
may
development
may call
on
prefer the
style
the course of art the
same
level.
But that there was until the former of those dates in Greece constant improvement in art cannot be denied. The improvement is naturally of two kinds, and consists partly in the widening and refining of the ideas embodied in art^ partly in a more complete mastery of the technique of art, fuller powers of expression.
LATER ARCHAIC PERIOD: OR PERIOD OF TRANSITION.
99
and a more complete control of the material used, whetlier stone, metal or earth. The period treated of in the present chapter is B.C. 479 431, which was for all parts of Greece one of great and rapid expansion. It covers the time which elapsed between the Persian and Peloponnesian wars a time peaceful and full of the exhilaration produced by the great victory over the hitherto invincible arms of Persia, and of the proudly dawning consciousness of the superiority of Greek to Barbarian, and of free citizens to the slaves of an absolute despot. .
—
;
And nowhere was
the growth and expansion more rapid than
the days of Xerxes was in out
it
Art
art.
in
when the Peloponnesian war broke
childhood;
its
in
had already reached the magnificence of
its
maturity.
Italy.
In Italy and
and
not less than in Hellas, the age was one of prosperity
Sicily,
While the Greeks of Hellas were winning their national fame at Salamis and Mycale, Gelo the Syracusan was overthrowing the Carthaginians at Himera, and Hiero was defeating the Etruscans in a great sea-fight at Cumae. In consequence of those two sjolendid achievements the cities of Sicily enjoyed rest until the Athenian expedition to Syracuse, and the far more fatal invasion of the Carthaginians ten years later and the cities of Italy retained theh^ peace and prosperity even in the neighboui'hood of the warlike Italic tribes until the cruel ravages of Dionysius of Syracuse, and the growth of the power of the peace.
;
And
Lucanians.
during
this
time
of
peace
and
commercial
expansion,
art
throve wonderfully and grew apace, from decade to decade outstripping further
and further the art of Asia. So much has been Italic and Sicilian schools of the 5th century B.C., peculiar turns
should
and
fashion,
how widely
were, and
so little do
that in spite of the later
have known, but
not
for
of the
lost
the testimony of
products of the
we know
Selinuntine
of their
sculptures
we
how advanced they
coins,
spread their influence, what originality there was in the
types they introduced, and what mastery they shewed in the execution of those types.
It
even seems
time when art entered completely sensuous
moulded
beauty
probable,
most
their
and
we would name the
if
intimately into the
ideas,
grace,
that
filling
we ought
all
the
to
name
external beside
Angelo, and the Athens of Pericles or Alcibiades,
century
B.C.
This
is
certainly
confirmed by the beauty of the
the
testimony
scanty
remains
also
of
of
a
of
life
people of
aspects
the Italy
the Sicily
coins,
other
and the and most
jolace
and
it
kinds
life
of
of is
with
Michael the
fifth
perhaps
which
13—2
have
AKT AND MYTHOLOGY OF COIN-TYPES.
100
come down
to
such
us,
the
as
terra-cotta
reliefs
from
Locri
and
the
early-
Sicilian vases.
The
of Plate
latter part
479
— 431.
i.
devoted to
is
great period,
1.14, 15.
and 15 the Poseidon of Poseidonia at a before (Nos.
much
less
1,
The
2).
lines
than when we considered them of the figure and the attitude have not become
In the later
and at the shoulders
coins,
less
is
with greater mastery, and a great improvement of perspective.
is
conventional and
visible
in
worked
the understanding
though the body at the hips appears in
turned so as almost to front the spectator, this
is
this
later stage
but the anatomy of the body
rigid,
during
of Italy
In No. 13 we see the Apollo of Caulonia, and in 14
1.13.
B.C.
the coins
at once to be only a slight exaggeration of the real attitude of one
who
profile is
seen
strides
hand advanced and right hand drawn back, and the parts of the body between hips and shoulders are not xmskilfully represented in three-
114. I.
15.
forward with
left
quarter-face.
Especially
is
it
important to compare the Poseidon of No. 15 with
The order of time is that followed in the Plate; a glance at the heads of the two figures will at once shew that No. 15 is the later. But how far more sturdy and muscular is this figTire. And so it is always in the figm^es on Italian and Sicilian coins. From the middle of the sixth century onwards they are stiff and angular, with exaggerated musculature, the Poseidon of No. 14.
but not sturdy or
fleshy.
It
is
not until near the middle of the
fifth
century
that figures of squat and thick-set build begin to prevail, such as our No. 15. rule seems absolute for Italy
and
Sicily.
Of
course I
am aware
This
that the figures
heavy and massive, but they are earlier in time than any of oui^ coins and seem to represent a different current of art. They are in fact in style more like the Macedonian figures at the beginning of of the earliest Metopes
of Selinus are
In northern Greece the proportions are in our earliest period very massive, and in the course of time become progressively attenuated, but our third plate.
there does not appear, as
1.16,17. 1.16.
in
Italy
and
Sicily,
an interpolated
class
of figures
which remind us rather of wooden xoana than of stone statues. Nos. 16 and 17 are from Metapontum and Pandosia respectively, and represent two standing figures in nearly the same position. No. 16 is somewhat earher, as is shewn by the way of doing up the hau% which is long and plaited at the back, and
by the greater
rigidity of the
and greater prommence of the muscles. It dates from about B.c. 450, whereas No. 17 must have been struck some twenty years later. It is however remarkable that in spite of the superfcial likeness of the two coins, the subjects of them are as different as 1.16.
On
figure,
we see Apollo standing, holdmg his usual attributes of laurelbranch and bow, as he may have stood beside his omphalos in the market-place of Metapontum; on No. 17 we see the river Crathis sacrificing to the gods, holding
possible.
in one
No. 16
hand a
patera,
in the other a
long bough.
Closely resembling the
last
LATER ARCHAIC PERIOD— ITALY. mentioned
Is
sacrificing,
a coin which
No. 16 of pL
attitude.
It
these coins
Hypsasn. other
find Heracles also sacrificing, in almost exactly the
same
have more
shall presently
fully to discuss.
The
attitude
not
is
even peculiar to
sacrificing
since
figures,
it
is
sacrificing. The truth is that more than conventional. The earlier method of representing a figure standing and engaged in sacrifice is that to be observed in No. 15 of Plate ii., ii. where the body of the sacrificer is partly in profile and partly turned towards it
i6.
abundantly evident that the character of the figures on in no way due to the particular deities or classes of deities they
adopted in the case of the Apollo who
also
find the river
thus
is
is
represent.
we
a coin of Selinus, where
On
we
Metapontum we
coins of
ii.
101
not
is
little
is
the spectator, just as in the case Later, this figure, although
in
running figures
of the
general
its
more towards the spectator, except the head, which doubt these changes corresponded to the customs
mentioned.
already
unchanged,
characteristics
remains in
still
is
turned
No
profile.
contemporary
in
15.
sculptural
with which, rather than with statues executed in the round, coins should be compared. reliefs
We
next reach a remarkable
who
that city
of Zeus
attitude
personified under the form of a bearded
is
chief deity of the
Zeus,
people of Messene,
considered to be a colony.
who
is
man
Avho
sits
is.
the
in
the intention of giving him the semblance of
possibly with
:
artis-
No. 18 from Khegium represents the Demos of i.
of the greatest interest.
tically
which are
of seated male figures,
series
Nos.
19,
21
20,
Rhegium may be represent the Demos of Tarentum of
which
city
conceived in the likeness of Taras the founder of Tarentum, and so
figured as a youth, holding in his hand sometimes a
spindle,
is
symbolize the
to
manufactures of Tarentum, sometimes the wine-cup to denote the excellence of its
We
vintage.
Demos with the The
out reason. its
ruhng
decline rather than the childhood of rule
Similarly
such
figures,
early
in
not
divinity,
exceptions. gorical
accustomed to associate symbolical figures
are
in
the as
It
an
this period, the foot
to
allegorical
embody the figure. Yet
on the
chest
of
personality this
fine
time of Greek
drawn back,
art,
of a city in
admitted
rule
Cypselus
contained
and
;
down
:
both
greatly modified
Parthenon for
the
frieze.
period;
and Hellas
of which
and softened
of
alle-
rai^e
as
they are never absolutely
note the conventions of the seated posture at so as to occupy the vacant space beneath the
end hanging
throne and the himation neatly folded round the knees, with one stiffly
that of a
and not with-
art,
and Day, Justice and Injustice
Night
also interesting to
is
is
pictures
such figures became in the wanting.
art
Greek
like
conventions form,
in
are
the
present,
seated
although
figures
of
of
course
deities
in
in
the
In spite of these conventions, the figures are very advanced certainly
we might
at the time, save in the
look in vain for parallels to
them
works of the greatest masters.
In
in
Asia
No. 22
i.
22.
ART AND MYTHOLOGY OF COIN-TYPES.
102
no longer the Demos of Tarentum, but Taras himself as he was fabled to have approached the Italian shores, towards which
the
figure
on a dolphin
riding
is
"
he holds out hands of longing.
A 1.23,24.
23,
standing and a seated Nike, the former by far the
The
both from Terina.
24,
No.
closely like that of Apollo,
even
is
and there
stiffer,
which the her
ui.-.
Mythologically
Victory amid
attempt
less
still
is
and the Hypsas, Plate
it
is
interesting
notwithstanding
i^^i'spective,
to
the winged Nikes of Italy and
all
at
attitude
but the pose
16,
ii.
an
in
rendered with care the form of the Goddess' limbs beneath
artist has
drapery.
16,
stands
Victory
wingless
early
occur on Nos.
earlier,
unwinged
an
find
It suggests that perhaps
Sicily.
Pythagoras of Pwhegium may, in the statue of Victory which he made Tegeatae to dedicate at Delphi represented
goddess
the
attempt to render rr. 19. I.
24.
.
ii.
19.
No.
still
one hand a wreath.
Nymjoh local
the
more
the running Nike
visible in
the Goddess
24
accoi*dance
in
winp;ed,
is
and^ the
drapeiy,
of
.
with universal later custom, and seated on a 1.30.
treatment
Careful
wingless.
On
for
have adhered to the tradition of Calamis, and
^,
partly transparent, are
it
from Catana, Plate
as
of
fignire
Terina,
The obverse
or possibly of
form of Hecate,
Terina
of this
Pandina
jorostrate
on No.
coin
whom we know
and whose head certainly does
amphora, holding out in 30
the
is
head of the
from inscriptions to be a
on
figure
later
coins
of
^.
This coin presents us with a phenomenon familiar to
overlooked by
many
writers on art.
all
numismatists, but
The head of Terina on the
and the figure of Victory on the reverse of the coin, are both executed with a want of finish and a carelessness Avhich we are vmaccustomed to associate with the Another instance will be found in the coin of idea of Greek art at the period. Eryx, Plate vi. 3, which dates from about B.C. 400 and it would be easy to obverse,
;
find
many more
in
our
unpleasing, and only an
cabinets.
These
works
are
distinctly
eye well-used to Greek art can
treatment of drapery, redeeming points of merit
see,
ungraceful and
especially in
the
would be the easiest thing in the world to mistake their want of carefulness for the want of mastery which marks the decline. I think that these coins sound a warning, and caution us not to give way too hastily to the custom, which prevails perhaps too much in ;
it
the criticism of vase-paintings especially and terra-cottas,
work must
of assuming
that bad
necessarily belong to a late period,
and that signs of clumsiness and inconsistency in a work of semi-archaic appearance shew that it must necessarily 1)6 archaistic and not really eaidy, I can but throw out this hint, and pass on.
1.25—30.
30 are a series of heads of
Nos. 25 to
Nymphs which
the stages passed through by the art of representing female
'
Tau8. X.
9.
'
Cat. Gr.
Coins, Italy,
p.
most of
illustrate
heads
394.
in
relief
.
.,
;
in
i,.-,
.
LATER ARCHAIC PERIOD— ITALY.
.':
the period
470—30.
nymphs, Plate
Sicilian
and
b. c.
In conjnnction with them we
26—29 and
Nos.
ii.
Of
31.
all
103
may study these,
the heads of
Plates
31
29,
ii.
11.26-29,
In them we see the pupil of the eye turned full onii"29, the spectator, the almond-shaped eye-socket and the archaic cut of the mouth, of which the corners are turned up so as to give a smiling expression, to 27 are the
I.
earliest.
up
turned
at
The
Xe^^o^^.
fxeLSiafxa cre/xvoV kol
back
the
under
hair
a
When
band.
reach
26,
i.
28,
n.
29,
represented partly in profile
is
Greek
times, as in
where a metal
30,
a long
fillet
is
to Aphrodite
(ampyx)
frontlet
430 we
the coiffure
i.
26, 28,
ii.'
is
confined
is
head, a fashion belonging
27.
25.
;
so.
especially
26 where a saccos or handkerchief entirely covers
11.
;
before B.C.
by a simple band;:. passed over the forehead 11. 28 where i.
wound round and round the
and Artemis
put up
it
of hcmteiir together with
where the hair
25,
i.
is
though
much
Finally not
27.
straight features and an expression
of later I.
the features
find the arrangement of the hair also altered in detail
on the same plan,
by being assume a more
fastened in simple old fashion
is
Hellenic and less Oriental character, and the eye
we
ai.
H-
20.
the hair except in the front, in a manner that can never have been pleasing.
We
may remark by
last cited,
the
way the
which must be taken
as evidence either of close copying of
model, or of unexpected peculiarities in some school of Syracusan
The two pleasing heads because we have the means
of Pallas,
Nos.
of closely
dating
spot in Lucania, the site
of Sybaris
following
of
the
refounding
by the Athenians. issued
way
before
to
Thurium.
unchanged such
the
for
32,
31,
are
an unusual
art.
interesting
peculiarly
and both belong to the period immediately
;
may
see
name
from
its
of
Thurium
reverse.
in
443
B. c.
No. 34, was even .
of Sybaris, which the settlers
Athens
hei-self
commercial reasons
;
kept
the
stiff
at first
used,
conventionality
of
i.
31.
1.
34
had given her
coins
but these two coins shew us what but for
head
conservative prejudices the
i. 31, 32.
Both are from the same
them.
Sybaris under the
No. 31, as we
name
head
peculiar thickness of the features in the
of
Pallas
on the
Athenian coin
might
have become.
The remaining representations on Plate i. are of animal types. The bull of Sybaris, No. 34, and the man-headed bull of Laiis, No. 35, turn back their 1.35. heads in the same conventional manner as their predecessors, Nos. 10 and ll.i. 10, So does the eagle of Croton, No. 36. The lion of Velia, though at bay, is 3G. i.
represented in the fixed heraldic fashion of Asia.
It
is
not until the next period
that naturalism appears in the attitudes and actions of most animals, even though at this early time their general forms
and
essential characteristics are well under"
'
stood and successfully delineated. ^
Lucian Imag.
6.
11,
ART AND MYTHOLOGY OF COIN-TYPES.
104
Sicily.
Turning to
we
find first of all
11.15.
is
sacrificing at II. -sG.
On
improved on Mtillers text.
The other
an
beside which
altar,
side of this coin
is
is
No.
15
;
16, the
Their explana-
interest.
Mr Watkiss
Lloyd \ who has
we
river-god
find the
behind him
given under No. 36
it
:
a statue of a bull.
is
bears a chariot in which
an an^ow,
discharging
Selinus
while
sister
his
other river-god of Selinus, Hypsas, stands
11.16.
holds the reins.
11.15.
the same act as his companion of No.
11.17.
No.
a cock
stand Apollo and Artemis, the former
On
— 42,
and nymphs of point of view, but which must
mainly due to K. O. MuUer, but partly to
certainly
15
ii.
river-gods
of sacrificing
a series of figures
which we have already spoken from the artistic still somewhat detain us in view of their mythological tion
Plate
of the transitional period,
coins of Sicily
tlie
in
but the accessories of the coin are changed. By the altar is a snake instead of a cock, and a stork occupies the The reverse of this coin is given under No. 17 and reprefield to the right. 15,
would appear that aU four of these representations contain allusions to the same event, the draming of some marshes at Selinus by the well-known philosopher Empedocles, whereby health Every was given to the district and freshness to the waters of its streams. sents the battle between Heracles
touch adds to the
fullness
of
and a
the
It
bull.
meaning.
thanksgiving for the purification of their streams alike symbols of the u.
16.
feed are no more.
It
matter quite in this docles
is
;
god of healing and cleansing,
the stork on No. 16,
bird,
is
is
true
light.
retiring because the
that the ancient
What
Hypsas sacrifice in the cock and the snake are Asclepius while the marsh and
Selinus
;
marshes wherein he used to
account
does
not
Diogenes Laertius says in his
that the philosopher mixed the waters of the
two
present
life
of
the
Empe-
rivers so that
they
became sweet, but we can scarcely err in supposing that in this mixing of the rivers was implied a construction of artificial channels to take away the surfacemoisture of the land.
The groups
of the reverse of the
seem to have a similar meaning. Heracles striking the bull with his club is a visible symbol of the power of bright sunlight in dispersing damp vapours and purifying the air. Apollo shooting out his arrows of light must be taken in the same sense. K. 0. Mtiller indeed coins
thought that Apollo and Artemis appear on our coin rather as senders than as removers of plague and sickness and this is an idea which might readily occur to any one with the first book of the Iliad fresh in his memory. But the same ;
Deities
who
scatter the plague also '
Fum.
remove
it
;
Chron, 1848,
and p.
it
108.
seems preferable to imagine
LATER ARCHAIC PERIOD— SICILY. them on our com engaged
in
a
beneficent
105
than
rather
a
mission.
pei-nicious
Apollo represents cleansing solar warmth, and as Mr Watkiss Lloyd well suggests, the presence of Artemis is especially suitable because one of the evils under which the Selinuntines laboured before succour was brought them
women in child-birth. In these charming pieces a hymn of thanksgiving as well as a chapter
the difficulty experienced by
money, then, there
and they
history;
cussed
will
ever stand as a record
for
and the wisdom
Selinuntines
No.
quite
is
18,
from Himera,
at
Himera
sacrifices
piety
the
of
us a subject closely similar
offers
Himera was not a
hot springs which were sought by invalids.
who
alike
of of
the
of
of the great Empedocles.
but with interesting variety.
;
by Empedocles, was
It
dis- n.
is.
but of
of rivers,
city
Nymph
the
is
to those just
of these hot springs
to the healing deities, while in the background appears
a Satyr rejoicing in her waters, which pour over his shoulders from a lion's-head
The nymph
jet.
chiton,
not in the usual
with himation passing under her This
shoulder.
may
clad
is
is
Doric
dress,
remarkable
early
we have
m
a well-known coin, which
the general muscles,
existence.
It
is
Naxus
of
the
of
characteristics
in
is
in
profile,
much
the
age,
the rigidly defined attitude
rule at this early tune
In this figure we have the exaggerated
proportions,
the head also according
;
while the
20.
and represents a bearded
Sicily,
spare
most ii.
of the
body
the
faces
the
to
universal
But
spectator.
Our coin can scai-cely be this is shewn by the form X for S late as the middle of the 5th century the inscription, and by the very early style of the Head of Dionysus on the
certainly there
is
also here
that
is
unexpected. :
obverse.
No. 22,
We
should then scarcely have expected to
and an attempt to
distinct notion of perspective
successful realism
the result of the
in
which supports the weight of considerable
truth
known come from a
to
his
nature.
single die,
body
the
;
It should
and
to proceed in order of antiquity, an
of the
it
be added that
facial
angle of these heads
from
many are
die
we may
was executed
five
in
number. No,
30,
We
G.
have,
a Dionysus 23,
;
25
limit
of our
period.
In the
the mouths slope less and less upwards, Especially
11. so, 22.
24, n.
trace the gradual transition from the sloping
more upright Greek line the eye looks more and more forward. oriental to the
downward
type
points before his time.
Apollo from Leontini,
the
Satyr
of this
from Naxus, No. 22, and three ApoUos from Catana and Leontini, Nos. of which the last dates
a
a most
of the
coins
all
would seem that that
11.
as
do,
shoulder being pushed up with
left
in
well
arm
left
we
find, as
foreshorten, as
position
by an artist of extraordinary talent who was The male heads on the section of Plate
25,
right
Greek monuments, and
certainly one
is
Satyr squatting on the ground and holding a wine-cup.
in
long-sleeved
best be called the Ionian.
In No. 20
so
a
in
arm and fastened over her
left
Lycian and
the dress used in
but
noticeable
is
the change in
14
23, 24,
ART AND MYTHOLOGY OF COIN-TYPES.
106
which
the arrangement of hair, II. 5.
cases
all
The
appearing on coins of the period.
down
m
is
of the
hair
short
long,
hair
scarcely
Dionysus, No.
archaic
ever 5
of
In the case of the Apollo, No. 30, we find the customary arrangement of our period, the long hau^ at the back
the plate,
his
back unconfined.
behmd the ears, while the shorter hah at down, and the hah over the forehead is cut quite
being plaited and fastened
the sides
hangs straight
short,
A
Nos. 35, 49, Plate
iv.
shnilar 35,
No.
style
36,
ture. II. .^0.
falls
and
It 30,
is
of
m
coiffure
is
to
be
noticed
numberless other instances
Plate
in
— as
iii.
many works
well as in
no doubt taken from contemporary
real
The head
life.
can fortunately be accurately dated by reason of
it
One mteresting and behmd, which we may
seems to be the laurel-spray in front
m
suppose to be placed laurel-grove II.
surrounding
the same tune,
com
the
sphit
temple
local
479.
symbolism
Greek
of
of Leontmi, No. 33, can hesitate to give
if to
It
difierent artists.
No.
reverse,
its
to
stand for a
Of the Demareteion we
of Apollo.
but no one Avho compares
shall presently speak,
reverse of our
the true
of Apollo,
resemblance
close
its
to the so-called Demareteion of Syracuse to the year B.C.
point about
of sculp-
with the
32,
the two pieces to
would seem however that
in
Sicily
it
was before the middle of the fifth century that the long hah of men ceased to be plaited and was done up ha other ways. In No. 22 the back-hah^ is rolled m No. 23 the back into a sort of ball, and the front hah fastened backward hah is turned up under the strmg of a wreath; in Nos. 24 and 25 the hah^ is be far shorter. No doubt during still tui'ned up thus, but it would seem to our peiiod male hah was worn shorter and shoiter for the sake of convenience, until after about 430 it was usually cut almost as short as among us. Of the female heads which come next on our plate I have already spoken. ;
11. 29, 32.
But the so-caUed Demareteion,
No.
obv.
mention as a coin of fixed date which arrangement of early SicUian a great victory over the
corns.
rev.
29,
No.
32,
the chief support
is
deserves of the
a special
chronological
In B.C. 480 Gelon, King of Syracuse, won
Carthaginians at Hhuera,
and
a
as
consequence the
which was granted them at the intercession of Demarete, wife of Gelon, on terms so favourable that they presented that lady, in gi^atitude, with a large quantity of gold, with the proceeds of which she Carthagmians sued
for
issued coins, which
we know on
peace,
the
testimony of Diodorus^ to have
express
been of the weight of ten Attic drachms, or our plate
bemg
fifty
of precisely that weight, alone
bearing besides the figure of a
lion,
Sicilian
among
all
beauty and in advance of the time.
*
eai-ly
the well-known symbol of
taken to be one of the actual coins issued by Demarete. It
is
Diodorus
The coin on Greek corns, and Africa, must be a work of great
litrae.
It
is
doubtful to what goddess
xi.
26.
we should
W
LATER ARCHAIC PERIOD— SICILY. head
ascribe the
bears
it
;
has been thought by some to be Arethusa and
it
by-
some Nike. Nos. 32 to 35
Hlmera such
of our plate,
represent
respectively,
37,
are
agonistic
other
types,
The
of
Olympia
at
as Aristotle says it was, a
be,
the aj^ene
by
Anaxilalis,
where the horseman
tetradrachm of
horse,
before
his
So too Nike
permanent record of
king of both
and Panormus, some
rides his steed
;
;
In other
cities.
than
lesser victory
The
scarcely coins,
inhabi-
have been
Nos.
11,
38,
where he
in the case
is
leaping down,
34,
among the Greeks where
to alight in the midst of their
career
and run on
charioteers foot to the
to be noted as the rule in the coinage of Sicily that the type of a is
a four-horse chariot, of a didrachm a horseman leading a second
a drachm a horseman on one
35,
11, 38.
to
horse
We
merely.
might at
first
be
inclined to doubt the assertion that there are four horses to the chariots on Nos. 10,
ir.
to a victory with the Keles, in the case
victory in one of those contests so favourite
is
9.
;
be celebrated by the adoption of a chariot-type.
seems to refer to agonistic success
It
at
;
Panormus indeed being of Carthaginian race would admitted to the Olympian contest. The horseman on Sicilian
goal.
11. -^i.
at
tants of
had
won
citizens
not greeted by Victory, see No.
cases however, as on coins of Leontini
or horsemen
These
Camarina subsequently to the Olympian victory of by Pindar^ and the victorious mule-car both at Messana
won with
may
horses.
Syracuse and Gela in the time of
and was victorious
cities is
at
32— 35,
Victory
victories
and Rhegium may probably
also
with
and commemorate as a rule
chaiiot
celebrated
an Olympian
;
by Victory.
victorious chariot appears
over the
the victory
festivals
crowned
time the chariot at Syracuse
Psaumis
great
n.
the Greeks,
of
chariots
also
King Gelon, who ruled both floats
and the
from Messana, bears a mule-chariot,
Olympia.
Syracuse, Leontini, Gela and
and crowning sometimes the charioteer and sometimes the
floating above,
No.
to
ordinary four-horse
the
Olympia
contended at
as
^vhlch belong
36,
and two horses on No. 11 of our
.
This introduces us to
plate.
a curious convention practised in the depicting of chariots in Sicily. From early times until' about B.C. 420 the artists who had to engrave a chariot indicated
and the remaining two merely by doubling the front outlines of When a pair of animals only had to be represented, the two already depicted. as in the case of the apene, No. 37, or the horseman with two horses, No. 11, only 11. one animal was fully drawn and the second indicated by a doubling of outline. two horses
Now
clearly,
and then an unusually bold
artist,
such as the engraver of the Demareteion,
No. 32, broke through the convention, and tried to get in either the full number but the old custom of animals, or at least one more than the usual number ;
soon revived, and lasted even into the period of
^
01.
4.
This victory
is
given to
best
B. c.
art.
The engraver who
452.
14—2
37,11.
ART AND MYTHOLOGY OF COIN-TYPES,
108
cut No. 37 could certainly easily have depicted a pair of mules disposed; so could the engraver of our
vi.
pi.
No.
but they preferred the
24,
soars like a bird,
Over the victorious chariot Victory sometimes
established usage.
he had been
if
and sometimes runs with outspread wings. The latter of these attitudes seems the older and it admits of more variety. It is interesting to contrast the earliest II.
10, 37.
running Nike of our plate, No. 10, with the latest, No. 37. In No. 10 the Goddess hurries with swinging arms and stretched legs which are clearly seen
She wears an over garment, a most inappropriate thing for One of her wings is depicted as stretched in front of her and
through her chiton. a flying figure.
one behind, in the fashion followed always in primitive art in the portrayal of With this figure we may compare the larger Nike of Catana, No. 19, birds.
which
however more advanced.
is
of Catana under the guise of Nike, for
we
may
Possibly this figure is
it
be not of Nike but
noteworthy that on some specimens
KATANE which seems to
find at full length the inscription
refer to the
winged
figure.
In No.
II. 37.
on the
37,
clumsy exertions of the runner
By
propulsion.
Goddess moves swiftly without
the
hand,
other
the
her wings are evidently the chief means of her
;
a curious conceit of the artist she
alights
on the reins which
bend lightly beneath her as she stretches forward to place her wreath on the
One
heads of the mules. II. 21.
Nike may be seen in
order that
indicating
may
it
swift
in No.
of the
21
not
attempts at the portrayal of a floating
early
here the Goddess although flying
;
impede the motion of her limbs
lifts
her dress
a curious
;
way
In this case she holds part of a small galley, and seems
flight.
connected rather with naval war than with the games.
In No. 38, from Himera,
11.38.
the same 11.30,40.
we
have spoken above.
shape, nor like Achelolis on bull's
but
head,
character
as
a bull
sufiiciently
is
above him, and the front legs to
as
In Nos. 39 and 40
of veneration in Sicily, a river-god.
some of with
indicated
fish
below
;
we
head
the
fifth
the sacrificing figures see
of
a
is
interesting to place these ^
'^
The head on our No.
we
centmy.
two
Millingen, Ancient Greek Coins, Of.
mj
bearded
man 2.
His aquatic
our No. 39 by the water-bird which swims and indeed he seems from the motion of his
animals, an eagle from Agrigentvun, No. It
we
one of the most usual objects
These
41,
side p.
by
40
is
of
a
most
should have expected from a Greek fluvial
next period, when we shall again speak of them. 11.41.
of which
m
be himself swimming.
the middle of the
The horseman has
Here however he is not portrayed m human the coins of Metapontum^ as a man with
majestic character, and not quite such as artist of
.
a horseman alighting.
see
attitude and hard outline
stifi*
of
types will recur in the
Plate
ii.
concludes with two
and a hare from Messana, No. side,
for
the eagle
is
17.
paper on Greek River -loor ship in Trans. Roy. Soc. Lit.
vol.
xi.
42.
a creature in
LATER ARCHAIC PERIOD— HELLAS.
.
109
m
the portrayal of which the Greeks wonderfully progressed
the course of their
The
history, while they retained the type of the hare almost unchanged.
here
we
is
most heavy and wanting in
shall find in plate vi.
life
and presents a vivid contrast to those
Beneath the hare
short hair and goat's horn, and beside
him
is
an interesting head of Pan with
his musical instrument the
Hellas.
The coinage Elis in
Greece,
'
;
,
Yet Abdera
southern Hellas furnish us with
if inferior in
in northern,
evidence
that
,i
,
.
Thebes
monetary
...
and
in central, artists
of
technical skill to those of the west, were not their inferiors
and originahty of design. Evidence to prove this lower portion of our thhd plate. As regards the style of the in boldness
easy to say too
Syrinx.
of Greece proper cannot at this period compare for variety
care of execution with that of Sicily.
and
eagle
much
;
is
collected on the
pieces
it
would be
to find the peculiarities of various schools in the different
and to confirm old or maintain new theories of the spread of art. But in such proceeding there are great dangers and our coins are neither numerous enough nor large enough in scale to form the basis of a sound induction. But districts
;
Brunn above stated^ as to the art of the coins of Northern Greece is based upon and applies to the coins of The full and broad treatment the present as well as those of the last period. of the head of Hermes on coins of Aenus (No. 35) is especially mentioned by Prof Brunn as indicative of Asiatic influence. But we must not exclude from The city of Abdera, for instance, presents us with the comparison other sei*ies. it
must be mentioned that the theory
of Prof
a wonderfiil series of types, of which the character
is
very varied (see Nos. 29,
and to them Prof. Brunn's remai-ks seems to me less applicable. The Thessalian coins too, which in types and in style are closely like those of Mace30,
31),
seem to be thoroughly Hellenic rather than Asiatic in style. It thus appears that the style of ait in the coins of Northern Greece tends in the middle of the fifth century to lose the character which had originally marked it, don (Nos.
32,
33),
become assimilated to that of Southern Hellas. And it is noteworthy that at the same period Macedon and Thrace begin to gravitate from Persia to Hellas, to cease their dependence on the great king, and to seek allies at
and
to
Athens
and
Sparta.
No.
28,
from Thasos,
represents
a
subject usual
in
the
mountainous region of Thrace, where a rude worship of Dionysus and his train
was at home, as well
as in the islands opposite to
Thrace.
This subject
is
the
in. 28.
ART AND MYTHOLOGY OF COIN-TYPES.
110
surprise
off of
and carrying
present case the treatment
is
wood
of
by a
spring
or
In the
Satyr.
and the adaptation of the design to the Nos. 29, 30, 31 are from Abdera in Thrace, and judging of the art of Northern Greece at the
refined;
of the coin quite perfect.
in. 20,30, field
III. 20.
nymph
a
ought to give us materials for On 29 is the bearded Dionysus holding a wine-cup. period.
He
is
clad in the
himation only, which leaves his chest bare, and is as unlike to the usual archaic Dionysus swathed in long Ionian robes as to the later youthful and efieminate
Here indeed
Deity of post-Alexandrine times.
and general outline
attitude
in
he resembles Zeus and Asclepius. Of a not dissimilar type must have been the Zeus Philius, a compound of Zeus and Dionysus, set up at Megalopolis in Arcadia by the younger Polycleitus, holding in one hand a wine-cup and in the
The approximation
other a thyrsus surmounted by an eagle. sus,
if
we have a sturdy
In No. 30
hold a patera in act of
am
I
the
quite
see
in
outside the
passes
coins,
usual
improvement of the
great
which has usually been supposed
figure
But
sacrifice.
to
certainly
reception,
linear square cut for his desip-n.
hereafter
shall
His head, by a license unusual on Greek
Asia Minor.
HI. ao.
we
unusual in Greece proper, was as
and Diony-
of Zeus
on
inclined
close
to
examination to
The object supposed to be a patera is too large and heavy to be so considered, and it does not lie in the hand but rests on the arm of the youth who holds it. The frame of this youth is that of an athlete, and his square and powerful figure shews affinity to The attitude is not that either the nearly contemporary works of Polycleitus. think that
we have
of the Discobolus of
Myron
seem an unlikely one
for a
or
a forward lunge. It is perhaps
theory.
discobolus.
other extant statues of the time, but
disk-thrower to assume
nearly in the position in which
make
a
rather
here
it
Expeiiment
will
it
arm is thrown back when he is about to
left
be the best test
worth while to place beside
Scholiast on Pindar^, that
the
by a fencer
placed
is
:
the truth of
for
was the custom when one of the family of Diagoras
the right hand raised in prayer. the hand raised
is
the
This left,
If
we
bable.
when
it
was
But may there not be a May he not have imagined a hand
not the right. ?
really placed in attitude to
consider the attitudes usual to a Greek boxer
In the
fifth plate
him with
with our present
clearly not the case
is
mistake in the statement of the Scholiast to be lifted in prayer
this-
this figui^e a statement of the
the boxer of Rhodes was the subject of a votive statue to represent
figure, as
does not
it
of the Journal
this
?
not seem impro-
will
of Hellenic Studies
begin the fray
is
figured a
small
bronze discobolus in nearly the attitude of our athlete. III.
:'ii.
In No. 31 earlier
we
possess
a pleasing figure of Artemis,
than we should expect in view of the
fabric.
arranged in the early fashion in long locks which •
Ad 01
vir.
fall
The
of
a
style
somewhat
hair of the goddess
over her shoulder
;
is
in one
LATER ARCHAIC PERIOD—HELLAS.
;111
'.
Land she holds an arrow on the string of a bow, and in the other a branch on which feeds a doe which walks beside her. This was no doubt a current type of the period
;
it
may
be compared with the Leucadian figure of
XV. No. 14, which resembles executed, Artist
it
British
Museum
xv,
ii,
signed by the
Heius.
Nos. 32 and 33, from Larissa in Thessaly, give
As the
coins of that district. rivers,
pi.
ruder and less tastefully
generally, although far
and with the archaic^ gem of the
Artemis,
vis
a fair idea of the earlier
coins of Sicily are full of the worship of lakes
ni-^2,
33.
and
so are those of Thessaly of records of the prowess of early heroes of Thes-
sahan birth, such as Achilles and Protesilaus and more particularly Jason, whose sandal
is
the earhest type of the money of Larissa.
We
have in
the
present
two coins a representation of a struggle between Jason or some other hero and a savage bull. The hero, who wears the national Thessalian dress of hat (petasus) and chlamys, attempts to master the animal by means of a band which he passes round its horns, but the victory is stUl undecided, and the stress of the conflict is marked by the loose flying of petasus and chlamys; in No. 33 in. Contrary to the the human combatant is pulled ofi* the ground by his opponent. rule in early Greek coins of the West, the later specimen offers us slighter proportions in the
human
figure.
looking into a wine-jar, is
is
only remarkable for the
Of Nos. 35
fitted into the field.
No. 41 from
No. 34, from Terone, a representation of a Satyr to 40
we
will
and No. 43 from Arcadia
Eli-s
iii. 34.
with which the design
speak a
little
lower down.
clearly represent the
the great Olympian Zeus with his attendant eagle. tion in freer style of Nos.
skill
33.
No. 43
15 and 16 of the previous period.
is
same
deity, in.
41, 43.
merely a repetiNo. 41
is
a
more
but we can stiU trace the design Zeus is seated on a rock, no doubt mount Olympus, his sceptre lies on the rock his himation is wrapped about his left arm, while with the right beside him original work.
The
coin
is
badly preserved
;
;
hand he supports the eagle who is ready to start on his bidding. The attitude of the god nearly resembles that which he assumes in the Parthenon frieze, but there is here no trace of the influence of the great pre-Pheidian statue of the Olympian temple of which we seem to catch a reflexion in the Arcadian coin. No. 42, also from taenia.
The work
represents Victory, facing, holding in both
hands a long m. slight and sketchy, but the attitude a bold attempt for the
Elis, is
42.
period.
Nos. 44 to 48 are from Thebes.
It
is
worthy of remark that the time
ofiii.
the great Boeotian artist Myron is also the time when a great variety of interesting types appear in the usually monotonous and inartistic coinage of Boeotia.
In No. 44 appears a Goddess clad in long-sleeved chiton, seated cross-kneed on
^
Or, archaibtic, Brunn, Griech. Kiiiisiler^ n.
613.
4.-^.
44-
ART AND MYTHOLOGY OF COIN-TYPES.
112
a stool, and holding up a helmet.
He
treatment of his subject.
and vases
early reliefs
in
it
somewhat
Next
of Ares^.
and transferring the helmet from
in omitting the aegis,
but he has certainly placed her in an
;
Hence some have supposed that represented but Harmonia, wife of Cadmus and daughter august a Deity.
for so
free
who
not Pallas
is
has pei-haps only followed a custom not unfrequent
Goddess to her hand
the head of the attitude
If she be Pallas, the artist has innovated in the
is
the special deity of Thebes.
follow representations of Heracles,
In No. 45 he appears as a remarkably short and thick-set figure
and
This figure nearly resembles that of the Tyrian Melcarth at Citium
club.
in Cyprus,
iv.
pi.
the only important difference in the pose
22,
the Phoenician figure the right hand with the Theban figure
and the
relief,
Of
hangs down.
it
instances
somewhat
clumsy
apparent
is
The absence
execution
the
in
;
over the head, in
raised
is
being that in
of
but the hero
of the
is
skin
lion's
the
in
present
neverthethese
all
In No. 46 we see a beardless youth stringing a bow in
noteworthy.
is
club
its
course
Greek handiwork
details,
near to his foreign prototype.
less
bow
holding
His figure
fashion.
and muscular, and we cannot
spare
is
easily bring ourselves to the belief that this figure
is
also a Heracles, although it
must probably be so considered. The ear on the plate looks as if it were pointed this however is a mere accident arising from an injury to the coin. The contrast between these two Theban fi2:ures of Heracles on coins of the same ao-e and fabric may warn us of the danger of making general statements as to the prevalence of certain types at this or that period or place.
on vases, Heracles carrying its VII.
2.
:
serpents. pi.
VIII.
No. 48, 1
is
XVI.,
;
It
is
little
expression this figure
figure
freer,
from Delphi, and menacing
of Poseidon,
The
infant
pi.
may
vii.
2,
be comalso
from
Heracles strangling two
an early instance of a type often afterwards repeated; see
Nos. 6
and
—
The young hero
8.
is
not here as he
is
represented
demands, a mere baby, but seems already a
as the tale
notorious that Greek artists did not learn
and Boethus
until the days of Lysippus
here,
artistic
the two correspond very closely.
at a later period,
youth.
In
and
later,
of Apollo
the tripod
his club.
pared with a somewhat Boeotia
III. 48.
owner with
rightful
off
No. 47 represents a subject common
how
to portray children
before that time their children are, as
:
men and women.
In representing the head the Greeks of Hellas certainly at this period surni, 35.
passed those of the West. of Zeus
Ammon
That the head of Hermes from Aenus, No.
from Cyrene, No. 49, are early
fashion in which their long hair severe; '
^
that
in the features there is not
Head, Coinage of Boeotia^ Overbeck, the
is
fahric
p.
coin
is
much
and that
shewn by the archaic yet the type of them is noble and is
at once
of archaic convention
2.
Similar
is
the
33.
Kunstmyth. n. 294, of the
plaited,
35,
quite
calls
the head on our Ko. 49 archaistic.
early, at
all
events within our period.
It
is
however
certain,
Archaiatic in the sense
LATER ARCHAIC PERIOD— HELLAS.
.^/'
head of Apollo, from Dicaea, No.
36,
113
though here the hair
in
is rolled,
somewhat
and the head of Aeneas from Aeneia, No. 39. Of the female heads on our plate the earliest in style are the helmeted head of Pallas from Athens, No. 51, and that of Despoena from Arcadia, No. 50. The head of PaUas is a purely conventional type. It is not truly archaic true archaic heads have more
lu.
so, 39.
later fashion,
ni. 51.
;
character, coin-dies
No. 21.
cf.
of e.g.
The
changed.
time between
It
formed by making a general or average type from
is
500 or thereabouts and perpetuating
particular coin chosen for the plate
450 and
B.C.
form in perpetuity
21.
from age to age un-
may have been minted
Athens alone among
330.
repeated the same conventional
it
ni.
Greek
until
at
any
slavishly
cities
downfall of her
the
by the fear she made them
freedom, led thereto no doubt by reasons of commercial expediency, of Ihniting the circulation of her coins, which was enormous,
more
If
beautiful.
we must turn
best times,
Arcadian
coin.
No.
a bold attempt,
that
50,
to
to
pi.
could do
The
Nos. 31, 32.
i.
the
perspective
almost unique,
is
to
represent
a
face
obviously a httle out, but the surprising thing
In No.
from Pharsalus we have an early
37
represented
is
still
we
No.
which
in.
state.
iii. 38.
Of
represent a goat from Aenus, No. 40, the traditional owl of Athens, ni is
as fixed a type for the reverse of
37.
by mere dots;
type to be found on the thousands of coins issued by that wealthy animals
iii. so.
three-
in
38 a beautiful head of Hera from Corcyra, almost the only beautiful
in No.
53,
in
exhibits a head of the great Arcadian goddess Despoena;
Thessalian head of Pallas, of which the hair
and
die-sinkers
the coinage of Thurium,
should not be worse.
it
what Athenian
see
the period
for
The
quarter view. is
we wish
if
40, 53.
Athenian coins as the head
and equally conventional, and an archaic eagle from indeed might with equal propriety be given to the
of Pallas for their obverse,
No.
Elis,
52.
This last
earher period, but for the evidence of date afforded in the style of
No.
42.
The bird
thrown into berate
profile
is
more through the limited
skill
developing
art.
works of a
To prove that they belong
of conventionally retaining
G.
deli-
Asia Minor.
selves at once in the midst of the
work
of the artist than his
design.
Passing on to the coins of Asia Minor, on
an older mode
of
pi.
less
iv.,
lower
flourishing
to the period
treatment
it
may
be
;
but
half,
we
it
find
our-
and more slowly
now under is
not in
52.
reverse.
intended to be seen from below, and body and claws are
t
a
its
in.
discussion
my
opinion
of affected archaism.
15
in. 42.
ART AND MYTHOLOGY OF COIN-TYPES.
114
and not to
times would not be easy, and would require a long disserta-
earlier
ground of our assignment of date consists in the comparison of such as the pieces issued at Magnesia by ThemisAsiatic coins of known date the coins of the Greek Kings of Salamis in Cyprus the money of known tocles
The
tion.
real
;
;
;
Persian Satraps
the coins issued by the
;
Cnidus (xvi.
the battle of
7)
6,
and
which formed an
cities
other
alliance
after
M. Waddington^ has
specimens.
shewn that the incuse square of the reverse, which B.C. 480, and begins to disappear in Hellas after 430,
not found in
satisfactorily
is
Sicily after
persists in Asia
Minor until
West
B.C. 400, or
even
behind
as is fabric
And
later.
Of
fabric.
style in Asia is as far behind style in the
course this
is
not equally true of
parts
all
would be unreasonable to expect to find in great Greek cities like Colophon and Cyzicus the same sluggishness in art which seems natural in These truly Greek cities were bound by close ties places like Lycia and Cyprus. of Asia Minor.
of religion
It
and commerce with the
Their art was
of advancing civilization.
Thus
lands behind them.
and lay
of the West,
cities
in the full stream
more advanced than that of the
far
to take an instance
from the plate, No.
a head
36,
from Chalcedon stands on a very different level as regards art from the Cyprian
Yet they may well date from nearly the same time; the differInto ence between them arises rather from geographical than temporal distance. lands like Cyprus Greek art filtered slowly, and Phoenician stagnation prevailed head, No.
33.
everywhere until the days of Evagoras.
Omitting a few exceptional pieces we racteristic of these Asiatic
more care
far
of detail
;
vices.
That
known
to
have a
need
tendency to
a
female
is
the figures
all
approach the character of patterns or de-
and 20 are two obverses
works of Asiatic art
too well-
is
the well-known and widely current
of
running
;
The mint-mark
century.
fifth
the tunny-fish
figure
.
which formed a large part of the coinage of the Euxine and
Northern Greece in the alike
prominent cha-
fui-ther assertion or proof.
staters of Cyzicus
them
In
their decorative character.
this character properly pertains to
Nos. 19
lY. 19, 20.
is
safely say that the
bestowed on the general scheme and outline than on the truth
is
all
coins
may
but the types
;
she
is
winged
clad
long chiton
a
in
on
witli
;
one hand she raises her dress, while the other grasps the tunny by the This figure has
head
turned
of the
Nike tlie
of
;
limbs the
back,
the
through
absence of
question.
these
the peculiarities already noted
all
It
names
long
the
indicated
by
We
hesitate
hair
dress.
may
attributes deprives
would seem however
may with
greater ^
as
to
us of
Melanges de
Xam.
i.
p.
merely, the
be 15.
of finally
Eirene.
given
to
art
tail. ;
the
prominence
whether to see
the means
be Nike or
confidence
of archaic
signs
clots
of
all
In No. 20, we see
differ widely.
and
found
be
to
One another
in
it
a
settling or
other
running
LATER ARCHAIC PERIOD—ASIA MINOR. winged goddess of somewhat
115
30, on a coin wHch is usually supposed to belong to Marium in Cyprus, but more properly should be given to Mallus on the Cilician coast. This remarkable figure was evidently cut at a time
when
later
date,
No.
the plastic arts was at a high point, but had
skill in
iv. 30.
not yet, at least in
conservative Asia,
been able to destroy or remodel archaic poses. Between the general scheme which is altogether early, and the details which are carefully and
worked
skilfully
ever easy
must be
which follows
is
who
a divinity
;
a wreath,
is
there
out,
either
in one
carries
The
attribution
hand a caducous and
the genius of victory
It
victory.
a marked incongruity.
in
is
how-
the other
the goddess of the peace
or
should be added that on the reverse of this piece
the conical stone which stood in the district as symbol of Aphrodite, with
that goddess then
Nike associated at Mallus,
is
as at
Olympia with Zeus,
at Athens with Pallas,
and -
The figure of Heracles, No. 19, may be compared with the representation of the same hero on a Lycian coin. No. 23, and more especially with the two figures, Nos. 21, 22, from coins struck at the Phoenician city of Citium in Cyprus and bearing on the reverse the names of kings of that city written in Phoenician characters. The comparison will tend to confirm the theory already stated of the Phoenician origin of the plastic type of Heracles^. The position of the weapons of the hero is clearly dictated by symbolical intent, but it is unnatural, and not such as a Greek would have invented. The later of the figures from Citium, No. 22, shews greater departure from the grotesque and PhoeniHere as on Nos. 19 and cian and closer approximation to the Hellenic type. 23 the hair of the hero is plaited at the back, his figure more spare and enIt
ergetic.
is
probable that the figure on 19
intended to be running^.
is
No. 24, from an uncertain city of Pamphylia or rendering of Hermes.
This
But the wings
piece.
His form
roughly
is
place
usual is
a
No,
27,
is
di-awoi
and somewhat spare
make the of form.
more Hellenic
clumsy
;
in
hot
reverse
iv. %^. iv. 21, 22.
iv. 19, 23.
Oniv
19, 24.
oriental
of the
violent
motion of his
Another Hermes, from
haste.
character.
depicting which the
in
Here the wings ;
are in
their
iv. 27.
over his shoulders
die-sinker has done
his
utmost to
drapery light and of a character not to interfere with the portrayal He would even seem first to have formed a naked figure and then
added the drapery by a few of Dionysus from Nagidus in the figure
is
the
;
on the heels, and the god carries his caduceus
light chlamys,
the
i-j.
have risen from his heels to his shoulders.
of the deity
of
we have an
we know from a caduceus on
arms would seem to shew that he Cyprus,
Cilicia,
iv.
pi.
iii.
29.
in the right
lines
with the tool
Cilicia,
In No. 25 we have a figure
bearded, and clad in a himation only, like
The present representation is however far ruder and more hand of Dionysus is a large twig of vine with two bunches '
above, p. 80.
iv. 25.
^
above,
p.
87.
15—2
in. 29.
ART AND MYTHOLOGY OF COIN-TYPES.
116
of grapes
;
We
hand a huge thyrsus.
in his left
Dionysus and Zeus were confused, being
must
alternately
recollect that in Cilicia
with a
identified
native
Thus Baal of Tarsus, who was usually considered as Zeus, frequently -.,,;/ holds on coins a bunch of grapes. In No. 26 from Celenderis in Cilicia we have a horseman alighting from his deity.
^-
.
IV. 26.
38.
IV. 32.
pared with that from successful
Sicily,
ii.
For
38.
both in general attitude and in
a warrior leads a horse
below the group
;
armed,
once Asiatic
In No.
details.
is
a figure
to be com-
has been more
art
32 from Erythrae
an architectural pattern which looks
and suggests that our type In No. 29 from or rather a reminiscence of a larger monument. is a copy Aspendus, a hero charges with spear and shield a figure in design reminding In 31, of US of the figures of the Aeginetan pediments, but rudely executed. uncertain attribution, we find two naked boxers engaging, each having his oilThese last details can scarcely be introduced with any flask slung on his arm. part
like IV. 29.
pi.
is
j
.
,
,
with the help of a spear with which he
horse, n.
.
of the decoration
of a temple or a tomb,
;
IV. 31.
purpose but in order to of the heroes;
racter
fill
the
field,
obviously in
for
and perhaps to indicate the athletic chasuch a conflict they would be quite out
of place.
No. 28, from Cos, contains a figure which has, I think, been usually misin--
IV, 28.
terpreted.
It
has been imagined to represent the dance of joy which Apollo
executed after he had slain the Python
the god
is
supposed to hold a cymbal
But
hand, while the tripod shews the scene of conflict to be Delphi.
in his
would be
and if he did appear it a legend which belongs peculiarly
appear on the coins of Cos,
Apollo does not usually
and not as hero of must strike everyone
as a solar deity
Moreover
to Delphi.
great
;
it
god would here be depicted.
I
The male
interjDretation of the group.
in
how
undignified a fashion
the
venture to propose^ an entirely different figure
I take to
be an athlete, or perhaps
a deity in the guise of an athlete, in violent motion, in the very act of hurling a
discus
which he holds
in
his right hand,
while
the tripod
introduced to
is
shew how mighty was the throw, winning the tripod, which was no doubt the prize of the contest. Looked at in this light our coin is interesting as an important addition to the class of agonistic types.
Next
IV. 33.
IV. 34.
several
Cyprian head of Zeus style B.C.
480, as the types.
now
Ammon, and No.
of
heads of male
34, a
deities.
No.
33,
a
Lycian head of Ares, belong by
art of
Cyprus and Lycia developed slowly, and long repeated
The obverse of No. 33 resembles No. 27 above.
Herakles, No. 38,
I
representations
the archaic period, though probably they were not struck before
rather to
archaic IV. 33.
follow
is
also
Lycian;
but
find that this lias already
it
The head
of
belongs to the latter part of our period
been suggested.
Berlin Ron. Manzh.
p.
64.
LATEK ARCHAIC PEEIOD—ASIA MINOR when the Athenian maritime empire had spread along the it
Athenian art;
Asiatic coast, and with
resembles the works of Greek
closely
it
117
Nos. 35 and
artists.
iv. 35,37.
37 are two heads of Apollo from Colophon, which shew gradual development of
though even
style,
No.
in the later,
from Chalcedon,
36,
No. 37, the archaic plaiting of hair
in all
is
probability the head of the Thracian
Ares^.
In spite of archaic convention
reverse
of the
was
coin
is
Nearly
the
all
sun-god
has a certain grimness of aspect
it
iv. 3e.
the
:
sun which
a radiate wheel, the primitive symbol of the
expanded into a
later
retained.
is
chariot.
animal
symbols
the last line of
in
are connected
iv.
pi.
with the sun and solar worship, sun and moon in varied form being the chief deities of almost all the peoples of western Asia.
In No.
39,
from Aspendus, we
iv. 39.
have a combination of symbols, the lion, one of the simplest and most universal of solar emblems, and the three running legs joined in a common centre, which are
The
supposed to symbolize the perpetual revolution of the solar disk^.
also
and sun are at the present day the type of the Persian above the legs
passed from Asia into of the
a lotus;
No.
and the sun
Isle of
Sicily,
Man.
No.
from Lycia,
41,
horned and winged
lion
and 40,
an
many
after
rises
These symbolical
back, just as does here the triquetra of legs.
lion's
emblem
coin,
lion
turns of fortune became the
from Cyprus, represents a sphinx pawing
animal
of
strongly
Assyrian
character,
with the claws of an eagle on his hind
iv. 4o, 41.
a
Some
feet.
monsters the Greeks adopted, such as Pegasus and the Sphinx, but I beheve that
was never naturalized
this variety of lion
in
Greek
art.
No. 42
is
another curious
iv. 42.
Lycian solar-symbol, a triquetra of cocks' heads, the cock being in many countries,
and notoriously
of Phoenician handiwork,
who
of Citium,
This lion
is
is
in
company with the name In the
field
is
fifth
century.
the head of a ram.
In
No. 44 appears a Rhodian solar symbol from the city of lalysus, the fore-part
The two wings
of a winged boar. in
way
such a
which reason
it
supposed
be
sea-boar field
to is
below ^
"
Cf.
K
that the lower
are curiously depicted, one
marine.
Winged
sea-horses
are
not
a creature the existence of which in art is
my
above the other,
appears to be a continuation of the body,
has been sometimes erroneously taken for a
fin,
and the boar
doubted.
a helmet. paper on Ares as a sun-god in the Numismatic Chronicle for 1880,
Thomas
in
Fum.
Chron. for 1880, pp.
18—48.
for
unknown, but a winged
may be
'
iv. 43.
king Baal Melek
of the
supposed to have reigned in the middle of the reverse of No. 21.
the
In No. 43 we have a lion
in Persia, the bird of the sun^.
p.
E. Thomas,
49.
I.e.
In the
iv. 21,44.
CHAPTEE
IV.
Period of Finest Art; early.
To students accustomed to regard tlie age of Pheidias as the great time of Greek art, and tlie Parthenon as its highest embodiment, it will be something of a shock to find that onr upward limit of finest art is fixed at B.C. 431, when the Parthenon stood complete, and Pheidias was quite at the end of his Such students must
career.
time are specially
recollect that our divisions of class of
ranged in view of the art of one special
monuments
:
—
may be
It
coins.
ar-
by experience and wide induction that the finest coins do, with a few exceptions, some of which may be found on our third plate, belong considered
fixed
as
This fact sufficiently
to the period after the outbreak of the Peloponnesian war.
But
our division.
justifies
may be
it
still
further justified
make
supposing that the Pheidian school of art did not
am
I
if
right
in
influence at once or
its
greatly felt in the less noble classes of monuments, vases, gems, utensils and coins;
and that
its
influence spread but slowly through
And
indeed the art of Pheidias was better adapted for the adorn-
lenic
world.
ment
of temples than
of
meaner works,
it
whose name we have
chosen in preference
to that
had an extremely wide
influence in Greece,
classes
of artistic productions,
both in
And
and
M.
Fr.
is
denote our
an influence extending to
number of
human and and
pupils
his
all
athletic disciples.
supposed to have fallen almost entirely within
Lenormant avers that the
the celebrated decadrachms, as
remains of sculjDture from the
of Pheidias to
consequence of the
virtue of the
in
the activity of Polycleitus
our period. cially
art,
on the other hand,
Polycleitus,
epoch,
of his
the higher aspirations
belonged to
rather than the daily usages of the Hellenic race.
character
of the Hel-
more distant parts
vi.
pi.
Heraeum
21,
shew
of
coins
finest
Syracuse,
in style a likeness
at Argos, where, if anywhere,
espe-
to
the
we should
expect to trace the manner of Polycleitus; and whether this be a just judgment or not^, so
we may be
a priori, that
sure,
widely spread a school
;
and we
coin-artists
shall find traces of
speak of certain of the coins of the period. traces of other artists of the period ^
111
my
the opinion.
opinion
tlie
fragments
in
would
we
Whether we can
Museum
at
the influence of
such influence when
shall discuss lower
the small
feel
find
more
we
definite
down.
Argos scarcely
afford
foundation for
PERIOD OF FINEST ART, EARLY.
119
Italy.
Liberated by the victory of Gelo from fear of Carthage, and by the victory of Hiero from interference by the Etruscans, the Greek colonies of South Italy enjoyed during the fifth century b. c. peace and prosperity. They were strong
enough to hold
in check the warlike nations of the interior,
had not yet begun cipal cities great
Thus we
spread towards their borders.
to
and the
abundance of coin and an art which seems
fear of
Eome
find in the prin-
in every
way
flour-
ishing a.nd prosperous.
Our numismatic pi.
v.,
the upper
of the period for South Italy will be found on
illustrations
They
half.
will not
we have
types are mostly those to which
On
last period.
the attitude
is
No.
require a very lengthy
already become accustomed under the
we have again the Demos
1
far easier,
the
discussion as
of Rhegium, cf
pi.
i.
18,
but
v.
i.
v.
2.
indeed somewhat wanting in dignity, and figure and face
The figures of Demos on late coins are as a rule young, perhaps because they embody the perpetual youth and energy of a body pohtic. No. 2 is the obverse, and No. 7 the reverse of a remarkable coin of Croton, which The ordinary types of the city are the Delphic is in every way exceptional. tripod and an agonistic eagle often bearing a laurel- or olive-branch, as No. 25. On the But here we have two deities occupying each one side of the coin. are alike youthful.
obverse, No. is
as
No.
trary,
we have
But
his
rest is
with a solemn
sacrifice,
and holds the is
when the
Kto-ra?) of
rites
coin
was
the city and he
We
Aristophanes well know.
immediately to the solemn slain
the hero
Croton,
which occasion he which should
arise
to
is
bough
engaged,
on the con-
The
of purification.
by the legend which accompanies of a form which must have been long
no doubt represented as occupied with those sacred
which no Greek
without
lustral
he
This legend claims Heracles as founder (Oi-
struck.
is
;
indicated
written in most archaic letters, letters
obsolete
seated on his lion-skin,
club,
not here given to refreshment,
29 below, where he holds a wine-cup
nature of the religious ceremony it,
on his
Heracles, leaning
spread on the rocks.
which in
2,
rites
city
may
was founded, fairly
as
readers
consider that the
of the
device
Birds of
refers
more
performed by Heracles after he had accidentally
purify
himself from the stain
of
manslaughter,
on
have prophesied the future greatness of the city and be called by the name of the man he had slain. There is
said to
an allusion to the part taken in the foundation of the city by the But Croton was a city the foundation of which was Heracleid Spartan kings ^
may
also be
^
Pausan. nr.
3.
1,
V. 25.
AET AND MYTHOLOGY OF COIN-TYPES.
120
Delphic god, and thus also claimed Apollo as founder;
directed by the V.
7.
the reverse of the piece. No.
we
7,
him occupied
find
and on
in his noblest achievement,
the destruction of the monstrous Python, at which he is aiming an arrow. design is evidently made specially for the coin, and in consequence the
The fillet-
bound tripod which usually occupies the whole field in the Crotoniate coins is made the chief thing, and the figures are only placed in the field; we may therefore at once set aside the fancy of those who see in it a more than mere reminiscence of some celebrated work of the slaying the
Python by Pythagoras
the strain of his shooting
is
But the design
Rhegium.
of the
The foreshortening
remarkable.
of
group of Apollo
time, such as the
how
well
it
a remarkable efibrt for the period
adapted to the space at the
is
less
lower limbs of Apollo as he bends with
which conceals those limbs seems quite out of place in an Apollo tude of the serpent, who stands erect on his coils, may surprise see
none the
is
the drapery
;
and the
;
though we
us,
disposal.
artist's
atti-
know
I
of
no work of antiquity more characteristic than this, or more full of suggestion. Marvellously human and measurable is the picture which a Greek artist has here entire the absence of mysticism. wrought of the victory of fight over darkness ;
we pause but a moment to recall to mind great modern works treating of the same subject, we gain a glimpse of the infinite abyss separating Hellenic But on this ground we must not enter. If we ventured to from modern art. follow up aU the interesting vistas which open to us as we examine coins, these If
pages would never come to an end. y.
No.
3.
3,
hero Taras, holding out some object,
ably the
animal
from Tarentum, represents either the Demos
who
up at
leaps
a domestic pet in
is
holds out in
may be
is
We
Europe^.
animal
the
it
;
On
from vases.
8.
the sea
v.
9.
appears as a horseman armed with a lance
on a dolphin beside which swims another
naked and bears only a small
shield.
and shew
the most dissimilar connexions
;
tines regarded
As son
^
is
their
In a sepulchral
an animal wanting.
called
founder.
relief
in
the
of which
Berlin
there
is
Guide a cat
became
fish.
and clad
in
in
On
No.
a chiton
what a singular
a cast in the
but
parallel re-
again he
8 ;
on No. 9
These four groups exhibit Taras in
of Poseidon he
;
and
;
No. 4 the same hero rides through
V.
cited
it
another Tarentine
same way a bird by the wings
presentations
is
seems to be
it
times that
On
panther's cub.
4.
is
but
a small
to
spindle,
prefer-
probably be right therefore in consider-
shall
intended for a the
Roman
not until later
V.
he
a
This animal looks like a cat,
it.
domesticated out of Egypt
coin Taras
possibly
or
city,
the result of long discussion that the cat was not at this pei'iod
established as
ing that
of the
it
is
is
Berlin
light
the Taren-
borne over the sea by
Museum
probably a rabbit
of ;
Casts (No.
222),
the head however
PERIOD OF FINEST ART, EARLY— ITALY.
121
dolphins and over land
by horses; but when grouped with the panther or holding the wine-cup (No. 30) he seems more closely akin to Dionysus. When he holds in his hand the distaff (i. 19, 21) he seems to reflect the manufacturing skill of
the Tarentines,
when he
is
armed, their warhke prowess, when he carrries
the naval trophy, the aplustre (No. 31), their successful battles by sea, when he holds a tripod, their devotion to the worship of Apollo. In everything he is the embodiment of the race, and in honouring him the Tarentines did
than give
full
scope to their civic
velopment of Greek religious
somewhat abnormal deand well accords with what history has to This
vanity.
feeling,
a
is
us of the character and fortunes of the rich democratic
tell
a legendary
quite
Phalanthus
;
character.
The true
but he seems to have
more
little
oecist
into
fallen
Taras too
city.
is
Tarentum was the Laconian the background and been superof
seded in popular cultus by Taras. It
is
noteworthy that the buckler, the conical hat, and
chlamys, distinguish the Tarentine
We
absence of a
from those of Thessaly and Greece.
cavalry
can scarcely imagine a greater love
the
or pride in horses,
for,
than that dis-
played by the Tarentines in the whole course of their magnificent coinage yet the horses are
as
No.
stiff
and wanting
in
later
life,
from Poseidonia^ continues the old type, cf
5,
sent instance there
is
greater freedom,
pi.
but
they become admirable. 14,
i.
and a piece of
;
local
duced in the shape of the head of a huge sea-monster.
15,
but in the pre-
colouring
No.
6,
which
is
intro-
it
would
v.
5.
v.
6.
perhaps be bold to put to so early a period, but for the style of the obverse of the
coin.
No.
19,
is
a magnificent
group
between Heracles and the Nemean
from Heraclea,
The
representing
the
must have been cut by the details of the muscles of both hero and beast a very skilful gem-engraver Yet there is nothing of the decline are worked out with the utmost minuteness. while the large head and sturdy here, no trace of weakness or over-refinement figure of Heracles and the massive proportions of the lion seem clearly the work A glance at of a man who followed an earlier canon than that of Lysippus. The letter
lion.
v. 19.
die
;
;
the letter
the obverse bears that in
that
it
all is
cases
4>
may
4>,
be the
the
reverse the syllable
initial of
the signature of an artist^,
is
possibly,
'
Br. Mus, Cat. Itahj,
So much has already been stated by
'
Gat G.
Sicily, pp.
p.
is
possible
as
the Thurian piece
Certainly the style of these pieces
uniform, and as fine and delicate as that of Phrygillus'
^
It
a magistrate's name, but more likely
who may
suggests, be the Sicilian engraver Phrygillus.
ct^PY^.
signed works ^.
287.
168, 182;
von
Mr
Head, Br. Mus,
Sallet, Kwistler-Inschriftenj p.
Guide
to
Coltis,
pp. 30,
50.
39.
16
No.
v. 32.
v. 20.
ART AND MYTHOLOGY OF COIN-TYPES.
122
from Croton, represents the victory of young Heracles over the snakes, a
10,
Y. 10.
type discussed below.
No.
V. 11.
is
from Locri, represents, as the inscription shews, an
11,
an nnwinged
be meant for
sacrifices,
occasion this figure
and holds the herald's
We
staff!
was introduced on the Locrian coin
when the people
time
seated on an altar, which the bucranium on
figure,
of Locri supposed themselves to
shews to
it
know not on what was doubtless
it
;
She
Eirene.
owe much
at
a
to the goddess.
In attitude and in proportions, which are decidedly those of the school of Poly-
two which follow it. These are two Nikes from Terina, a city little known to any but numismatists, which are of They may be compared with the same deity on coins wonderfully fine work. of Elis, pi. VIII. 4, the present figures being far more carefully finished, though this
cleitus,
figure
exactly resembles the
In No.
13
Nike
V. 13.
the design
is
V. 12.
wreath,
No. 12 a bird, possibly a dove.
in
seek no of peace in
many
special
meaning,
but Nike
;
fact at
other times she fondles
in
life
a soft and
genial
South Italy seem to have loved
tus,
introdviced
is
ball,
a
Greeks
amusing herself
as
sometimes she
swan
pet
swarm on
region.
Above
and
insects
birds
their coins, just as they do
the scene of which
She seems
laid
is
most
in
Greeks the
all
and
flowers,
of small
coins
by the
issued
representations of river-nymphs occupied at Cierium,
of Thessaly,
which
But we do
for
On
instance,
sometimes tossing
find
a whole
we have
Sometimes, as
in the like joyous play.
they are playing with astragali,
of
of
the seventh Idyll of Theocri-
appropriately at Yelia.
cities
people
all
something of the same kind in other parts of the Greek world. series
a hydria
fills
dove.
or
symbol
a
Terina to embody the fresh gladness of nature and the sportive joy
of open-air
actually
according to her wont, a
the dove was not among- the
for
on the coins of Terina
at
;
holds,
In the latter attribute we need
Sometimes she plays with a
ways.
from a spring in
less graceful.
balls,
sometimes
They are the happy and ever young forces of nature, every development of which seemed to the Greeks with their sanguine nature and their genial climate full of pleasure Unfortunately the extremely small size of these beautiful Thessaand sport. lian coins has excluded them from our plates. To return to our coins of Terina it is probable that both of them are by the artist of whom we have just spoken, and who signs with a *, for the style they are
hydriae,
filling
sometimes seated in quiet enjoyment.
:
v. 14.
is
closely like
his.
No. 14, from Locri, bears a head the attiibution of which
might perhaps have perplexed us but of Zeus this
is
suit Heracles.
VL37. ^'
'
quite unique
Syracuse,
pi.
the legend, the
word
Zev9.
As
a head
the thick beard and strong bare neck would better
The nearest approach
Eleutherius from
from Rhegium,
;
for
vi.
to it
is
to
37; the style
be noted in the head of Zeus is
no doubt
local.
On
No. 15
and No. 16 from Croton, are two noble heads of Apollo with
PERIOD OF FINEST ART, EARLY— ITALY. long flowing hair; that of
with,
No. 15
17 and 18
on
Scylla
Equally
the
in B.
434
the subject
;
and
13,
is
on the
Thurian coins
perfect
retained
Terina on a coin of the city of the same name
but severely beautiful
It
is
No. 22 from Heraclea, a beautiful
uncertain
Such a position could properly we do not find wing or serpents, nor in Gorgon.
that of the dread pleasing type.
Possibly
even of the Goddess herself
On
It
wears
may be
it
:
piece
;
indicated by
of noble form
and
the full
the resources of
all
is
intended in
fish
also
fact does the
an
head
olive-wreath
in
and
gentle
of
is
which swims below.
of energy.
symbol of agonistic
from Rhegium, and
is
On
who
ffovpcoSf
name.
its
25 from Croton
is
^ ^
symbolizes
victory.
in fact the reverse of the Apollo, No.
the other side shews us the same artist (in
all
probability)
is
a
master-
an eagle carrying
The obverse
15. it
bird
standing on the
leaf,
a pretty illustration of
to the feeling for natural objects displayed
by the
v. 25. v. 26.
v. 15.
to the ideal
doing the best he
can with a form familiar to him only in architectonic and decorative
No. 27 the ear of corn, the usual type of the Metapontine
v. 24.
His aqueous
This bull
of the coin shews us the artist working from nature and raising
little
v. 22.
the head of Victory, the servant of Pallas, or
This type
is
v. 21.
and
of very conventional style, dignified in form, but very far from nature.
fit
v. 20,
any way resemble
lion's scalp
olive branch,
i!>.
head on
the
Next, on 26, comes a
an
v.
no head but that of Medusa, but
suit
the butting bull, ySous
is
of
proud and ungentle
20, a
the rapidly gushing springs which procured for the city is
ruggedness, the
but we cannot speak with any certainty.
No. 24, from Thurium,
character
appear
placed on the snake-bordered aegis of
profile
Pallas.
who
ofv. 17— 19.
So while
coins.
its
it
No. 21 from Nola and 23 from Terina, are
effigy.
heads of nymphs.
beautiful
figure
who executed the head
No.
;
Nos.
local legends of
traditional
its
probably by the same artist
is
vii.12, 13.
founded by the Athenians
represented at Thurium by Attic colonists with
No. 19
art.
coins
v. 15.
a well-known
is
coinage from the very beginning makes
its
the old Pallas on the Athenian is
follow,
The
no doubt adopted from
that Athenian artists went with the colony and worked on
same deity
will scarcely suffer
Athene which
as will be remembered, a colony
the beauty of
;
12,
vii.
from the Lucanian Heraclea.
helmet of the Goddess
Thurium was, c,
pi.
be compared
style should
its
are the heads of
fine
from Thurium, No. 19
triumph of ancient art Italy.
from Olynthus,
the pieces
from the comparison.
specially beautiful;
is
123
coin,
reliefs.
On
appears with a
what has been
said as
Italian Greeks.
16—2
v. 27.
ART AND MYTHOLOGY OF COIN-TYPES.
124
Sicily.
The
many
for
of Sicily of the
coins
In the
reasons.
period B.C.
specimens of numismatic art in existence
beautiful
to our selection on pi. vi. Nos. 1 is
— 34
not without some justification.
but they supply a gTcat gap, the best time
dui'ing
— 371
;
are pecuharly interesting
they are commonly regarded as the most
place
first
431
may
and the reader by turning
]
easily satisfy himself that this opinion
Again, not only are these coins very beautiful,
for there is a paucity of artistic
and vases of
sculptures
are
class
this
remains of Sicily alike
rare,
and
neither bear quite so high testimony to the artistic skill of the Sicilian Greeks as
do the
narrow
Once more, most of these Sicilian pieces can be dated within In 409 B.C. began that terrible Carthaginian campaign which a time or for ever most of the great cities of Sicily and those
coins.
lunits.
waste for
laid
which survived the Punic carnage were a few years later ruined by the
cities
not
;
hand of the tyrant
relentless
less
Dionysius.
It
almost
is
certain
that
by Cartha345 by the
these cities did not issue coin between the time of their destruction
and
Syracusan
invaders
Corinthian Timoleon.
During
ginian
or
and
alone has arms
And
cities. is
the result to
remarkable
Sicily
can
about
restoration
B. c.
Syracuse alone issues therefore
with considerable confidence
a
most wonderful
sudden
ripening
have produced results
continue,
The and
to
left
in
may have
accuracy
;
in
day results
our
and
influence,
might
school
Sicilian
413
of art
in
during the period between the Athenian expedition of B.C. 415 and the
Carthaginian invasion, a rapid hot-house growth which might, had to
money, as she
we cannot bring the coins of each of the Sicilian which we are driven by the acceptance of this limit
there was
that
;
period
We
resources.
which
a limit below
fix
this
their
particular
helped
some of
still
more
respects
remarkable than
been allowed
those existing.
have outstripped those of Hellas,
imperishable
splendour.
How much
Athenian
the aid lent by the numerous Athenian prisoners of
towards
this
sudden development, we cannot
and we should not forget to observe that the
less in Syracuse,
it
where those prisoners were kept, than at
tell
Avith
phenomenon appears Agrigentum, Gela and
worth noticing that a chariot-group which might almost have served as the model of the chariots on the reverses of Sicilian coins, with the
Camarina.
Nike
Still it is
floating over them,
in the British
is
to be found
on a
relief
from Athens, now preserved
Museum^. '
Engraved
in
Museum
JIarhleSy part 9,
PI.
xxxviii.
PERIOD OF FINEST AET, EARLY— SICILY. The
subjects
on
usual
Sicilian
at
coins
the
river
No.
gods,
1,
nymphs, No.
or
belong
period
We
mythological cycle as those of the previous generation.
by
lit
still
the same
to
find sacrifices
and
heads of Arethusa and Apollo,
2,
But some new types make their appearance, and some old ones undergo important variations. The only thing to be noted in Nos. 1 and 2 is the progress shewn in these later coins in the understanding and rendering of chariot-groups.
the
human
form.
of Selinus, on No.
vi. i.*i.
no archaeologist could look carefully at the figure
I think that
without detecting a likeness to the copies of the Diadumenus
1,
Museums, two in that of London. There are the same heavy proportions, the same large head, the same general balance of the weight of the body on the legs. Our coin is distinctly Polycleitan and a comparison of it with ii. 15 and 16 will shew the reader how well Greek of Polycleitus which
in
exist
various
vi.
i.
vi.
2.
.
;
while preserving a fixed general type, to reproduce
art understood how,
The nymph Himera, on No.
the style of various schools and ages. dissimilar in style,
she too has learnt,
though somewhat cf. it.
her himation in far
18, to
we do not
element which really
to
throw her weight on one
We
and has arranged
foot,
guise.
usually look for in the art of Polycleitus It
is
probably a river-god,
represented as a young hunter with dogs, 4.
not
The Satyr behind her is also reof the new school; there is however in him a comic
enjoy his warm-bath.
of Segesta, No.
is
emancipated from traditional treatment
less
more becoming
modelled on the principles
2,
in
it
might rather have
;
/
.-.
he seems
Crimissus,
who
is
standing beside a term on the coin
identified the figure
with the mythical
vi.
4.
founder of Segesta, Segestus or Acestes, but for the fact that on some coins of the class he appears with short horn on his head.
This,
No.
cf.
11, is
a dis-
vi. 11.
him Pan Agreus, and this also is a not impossible attribution, a horned Pan actually appearing with name appended on coins of Messana at this peiiod^. But whoever he be, this young hunter is For I do not remember any other figure of of service to the history of art. tinctive
so
mark
of river-gods.
early a period
who
Salinas
'
calls
stands in this
attitude with one foot raised and resting
on a rock, and the whole body bending over it. It is not however essentially different from the attitude assumed in early sculpture by figures loosening the sandal.
For
this
compare the Cretan
coin, pi. ix.
with a figure of Hermes
13,
tying his sandal, and the beautiful Victory from Terina, date from the middle of the fourth century.
pi.
33,
v.
But the exact
both of which
variety of attitude
adopted in the case of the Segestan coin does not become at all usual until Hellenistic times, cf. pi. xi. 37, xii. 2, 38, when it suddenly becomes common, especially in
as
figures of Poseidon,
Yet there can
to the date of our Segestan coin
Numism.
;
scarcely be a reasonable doubt
from the general analogy of
^
Period, di
^
Wieseler-Miiller, DenkmaeleTj no. 528.
e
di Sfragistica, vol.
iii.
p.
Sicilian coins
L i
-
ix. 13.
.,
.:
.
xi. 37.
AET AND MYTHOLOGY OF COIN-TYPES.
126
it
VI.
7.
must be given
to the earlier part of the reign of Dionysius
and to put
;
it
Our plate contains other even as late as the time of Timoleon is impossible. On No. 7, from Camarina, the nymph Camarina appears pleasing aqueous types. seated on a swan and sailing over the waters of her lake, waters most agreeThe progress of the Nymph ably indicated by a line of curling waves and a fish. is
not like that of a mere mortal
her floating garment makes a
;
the wind, and the swan seems to
rather than to swim;
fly
a
sail
to catch
which leaps
fish
On
out of the water behind her adds to the joyousness of the whole scene. VI. 11.
appearance, cf
pi.
over his forehead
ii. :
bull's
8,
and
40,
retains
has by this time lost his semi-bovine
nothing of the beast, save a httle horn
dvhpeioy tvttco (/cvret) ^ovirpcppos
guage of Sophocles.
VI. 13.
who
No. 11 we have the river-god Gelas,
three fresh-water fishes
we have
swim
in
most
a differently-treated head
of waves
and between two
fishes
'
suits
life-like fashion.
On
No. 13 from Camarina
amid a
circle
His hair
floats
river-god Hipparis rising
of the ;
it
summa
in the lan-
him than the figures with has been applied. Around his head
Indeed that phrase better
head and human limbs to which usually
we might term him
caput extulit unda.'
out freely and his somewhat wild features contrast with the dignified repose of VI. 22.
And
Gelas.
on the Syracusan coin No. 22 we find a head of Arethusa, the name
^ApeOoo-a written above, with floating
borrowed
types
borrowing
from
which made of In No.
3.
river-worship
amid which
which
the
fishes
Sicilian
glide.
These are
Greeks
practised,
no doubt from older and ruder races of inhabitants, and then in
it
Hellenic fashion
VI.
the
hair
3,
filling it it
with a fi^eshness of meaning and beauty of expression
something new and splendid.
from Eryx, the Sicilian seat of Aphrodite, we have a remarkable
representation of that Goddess,
and himation, holding a dove
who
sits
on a
in her hand.
winged youth, but represented on a smaller
stool,
modestly draped in chiton
In front of her stands Eros, a
tall
than the goddess, as of
less
scale
The execution of these figures is somewhat barbarous but we must that Eryx was not a Greek city, and that the cultus of Aphrodite founded not by Hellenes but probably by Phoenicians. Our type is a skilful Greek translation of a barbarous original; we may compare it Aphrodite and Eros of Nagidus on the Cilician coast. In No. 5 from
importance.
remember there was not very VI.
5.
with the
;
Syracuse appears the hero Leucaspis charging at a run, upright and athletic; VI. 8.
his
weapon
No.
most VI. 6.
8,
also
is
not the spear of the ordinary hoplite, but a short sword.
from Syracuse,
skilfully
is
a group of Heracles strangling the
adapted to a circular
field.
Of
this type I
lion,
which
In is
have already spoken.
The Satyr from Naxus, No. 6, is much refined and improved from his prototype, pi. II. 20. The figure is softened and the head brought nearer to nature, though the general attitude remains, the artist apparently fearing to alter it lest he should produce a design less adapted to the space. The limit of space decidedly cramps
PERIOD OF FINEST ART, EARLY— SICILY. the present figure.
But
wliat is most
depicted and the background
is
an
effect
that of a painting,
like
fourth century B.C.,
cf.
up with a growing
an
common on
efiect
that the
is
We
vine.
soil
have thus
Crete in the
of
coins
but most unusual at this early time.
ix.,
pi.
remarkable in our coin
filled
127
*
Indeed, an
eminent archaeologist, Dr Helbig^, would limit such representations to the Alexan-
But the existence
drine age.
of Nos.
2,
7 of our plate
4, 6,
seems not consistent
with this view; which indeed sounds strangely to one used to numismatic
And
vi.
2, 4,
art.
we may venture
to assert that many of the theories as to Greek which find currency from time to time would not have arisen had the study of coins been familiar to their authors. in
fact
art
'
We
next come to the heads of
deities. No. 9, from Leontini, and 10 andvi. 9, lo, from 16 Catana, are of Apollo. No. 9 is of large and noble type of features, vi.*9. with long hair turned up behmd in the old fashion; No. 10, on the other
hand,
a curious mixture of archaism in
is
So youthful
this head,
is
and
design and great delicacy in detail.
expression, though pleasing, so wanting in dig-
its
had occurred in an isolated way we might have called it rather and had it been found save on a coin it might have passed as an reproduction of later time. But the laurel-leaf and berry, and the
nity, that if it
an Eros
;
archaistic
analogy of the whole series of Catana, shew that our head Apollo, and its date B.C.
No. 16
420.
by Dionysius
in
B. c.
by inscription and style of reverse to about date, though struck before the capture of Catana
fixed alike
is is
of later
We
403.
rence of coins like this that
Mr
largely influenced the
of Sicilian
style
vi. 16.
have here extreme care and refinement, which
indeed are carried so far as to spoil meaning.
much
intended as an
is
It
on the ground of the occur-
is
Poole has based his theory^ that gem-engraving
And
art.
certainly for that theory thei-e
Not only do the delicacy and neatness of the work indicate a hand accustomed to work with great accuracy and on a small scale, but in the selection of the types we may discern traces of a taste accustomed to is
justification.
examine minute works of
Magnify these heads of
art.
them on a statue and they
place
on the coins of Hellas
will
become ridiculous
will at once
bear to be magnified
terial circumstance,
which lends weight to
number
coins bear inscriptions in so
nary eyes they are quite invisible
view,
this
are
of ^
keen
And
force.
that a large
fact
without a magnifying glass
;
a ma-
ordi-
some of them
Several of these inscribed
be found in the present plate, and they will be presently men-
Meantime
tioned.
men
to
the
and
imagination
in
minute characters that to
indeed have never yet been deciphered with certainty. coins
is
life-size
whereas heads
;
many times
without losing anything, but rather will gain in dignity and
of Sicilian
to
Aj)ollo
it
is
quite
and practised
Camimnisehe Wandmalereij
clear sight, p.
286.
that the monetary artists must have been
and used
cutting
to *
Num,
on a small
intaglios
Chron, 1864,
p.
240.
•
128
AET AND MYTHOLOGY OF COIN-TYPES.
.
On
scale.
and
slight
both the
we may
16,
the object to the
16
notice
characteristic,
of the old customs in dressing the hair.
affected, traces
added that on No.
and
10
coins,
of the type
left
It
though
must be
a woollen
is
fiUet,
that to the right, a cray-fish or a prawn. Yi. 12, 15.
both from Camarina, we find two heads of Heracles The which exhibit the same contrast as the lately-discussed heads of Apollo. but the head is somewhat trucuearher, No. 12, is full of spirit and energy;
In Nos. 12 and
lent
that of an immortal;
for
that,
15,
the later
but for the whisker, we might almost imagine
The head
of Gelas,
on
effeminacy, so
actually into
refined
is
NTo.
belong to Omphale
to
it
highest type
of the
VLU.
rather than Heracles.
VI. 13.
and might well pass as an Apollo, as the bearded heads of the same deity might pass for heads of Zeus, pi. ii. 40, vi. 38; that of Hipparis, No. 13, is of more sportive and appropriate character. The head of Dionysus, from Naxus,
VI. 14.
No.
VI. 10.
head No.
viii. 26.
resembles, alike
14,
in
angle and delicacy of execution, the
facial
which the hair
the manner in
10,
is
11,
curled
is
may
being especially note-
be compared, espe-
worthy.
The head
cially as
regards the treatment of the beard, although to the Eleian coin, as
of Zeus, from Elis,
shall see, a later date
The female heads
must be
ternals
middle of
in
Artemis.
they are closely alike
we
naturally take
meter or her daughter Persephone.
Artemis Pelagia, who
tioned
are
vi.
pi.
Syracusan
all
is
Otherwise
to
we
suppose
be more correct,
head of Arethusa are in time transferred
see
The last-men-
we
as
But
in
find
no longer a
it
engraved
character there
is
In fact the
also
child,
to
In both
Persephone.
but in
full
bloom,
full of
cases
youth,
somewhat sensuous, but entirely free from all that is sensual. The numismatic artists seem to have vied one with another in the endeavour to depict a fair girlish emblem of the Greek race, dowered with all paran charms and srraces. In Nos. 17, 18 of our plate the type is simple and strong; and Nos. 19, 20 shew the same mixture beauty
and
The type
pride.
,
of refinement
'2:3.'
of a goddess
is
exact physical meaning round the
dolphins which were originally placed with an
is
19
to stand for Arethusa
it
no difference between the heads of Persephone and of Arethusa.
the likeness
No.
When we
with Arethusa.
over the full-face head No. 22.
characters
;
the representation to be intended for De-
probably identical
name however would seem
small
we
The female heads at Syracuse in type, and differ only in ex-
such as the wreath or the fashion of dressing the hair.
a wreath of corn
or
also
assigned.
in the
are hard to attribute, for
26,
viii.
pi.
of Persephone, the rest of Arethusa or
YI. 17, 18, 19 20.
Apolline
of loveliness
and
full,
and archaism of which we have already spoken.
were issued before about
for
and the last-mentioned
'the
rich
.
pieces
Q,
is
Carthaginian invasion.
B.C.
410, as they retain in
letter
came into general use
All four of these
their
inscriptions
in Sicily just before
Nos. 21, 22, 23 on the other hand belong to the
PERIOD OF FINEST ART, EARLY— SICILY. veign of Dionysius,
vanished
earlier
mens
find
in
— 367.
From them archaism has almost
effects,
and
distinctly over-elaborate
is
though we must not forget that
fanciful,
the hair of a water-nymph floating loosely
is
The No.
24,
driving
depicted on
chariots
plate
range
vi.
amid the waves.
quadriga together,
a
in
yet the curious convention
is
Of the
and most
diversified action.
sentation,
but one will be found in
No.
12.
and Artemis
Here the drawing,
of
alike
No.
coin,
vi. 24.
1
;
vi.
i.
and
side
third.
But about
and next in the
in step,
galloping in
Mr
and
first
and the four horses of the chariots
aside,
by
galloping side
at first
our period.
preserved whereby the second and fourth horse are
420 these conventions are thrown appear,
36, Apollo
ii.
depicted only by doubling the front outlines of the
all
of
and worthy of the obverse of the
skilful,
is
pi.
the earliest.
is
the whole
over
from Selinus, which continues the type of
horses and charioteers,
B. c.
and search
place a certain affectation of novelty
its
entirely
which seem to have made their way into Sicilian far than into Greek art. The arrangement of the hair on these three speci-
picturesque
for
it
and we
;
406
b. c.
129
we have
step
freest
here no repre-
Coinage of Syracuse, pi. iii. Of the freer action the plate furnishes several instances, Nos. 25, 26, vl25, 2r,,
Head's
27, 28, 2!K
.
from Syracuse;
from Camarina; 28, 29, from Agrigentum;
27,
as well as a con-
temporary representation of the apene or mule-car from Messana, No.
30.
At
seems to be eager to introduce some novelty into the In No. 25 we have a representation in the exergue of the arms which
this period every artist
type.
were
won by
prizes, a^Xa,
broken
rein
and
the
prostrate
Olympian chariot-race;
in
No.
27, Pallas,
but
incidents
chai-iot-wheel,
and in No.
common
too
28,
in
the
Nike take the place
vi. 27. \i.h().
of the charioteers;
in
No. 30 the floating Victory holds a caduceus as well as
her usual wreath;
in
No. 29 she
carries
is
written the
name
a label on
which
Euaenetus
while the chariot
;
is
in the
—a of act
very questionable piece of taste the
^(i.
In No. 26 we have a
in chariot-races.
victoi^s
vi. 25,
who engraved
artist
of doubling an
—
vi. 29.
the die,
Ionic column,
the
turning-post or goal.
We a
coin.
have just made the or
under a type, or are
that of
at
else,
field,
artist's
signature in the field of
in Sicily at this period,
but occur very
They are placed either in small letters on some part or adjunct of the type itself
any other time. more
often,
thus easily distinguished from
occupy the is
mention of an
Such signatures are quite usual
rarely elsewhere
They
first
usually in bold characters.
Eumenus on No.
18.
At
a
signatures
the
The
later
earliest
time
the
of
magistrates,
which
signature in our plate
same
artist
spells
his
name with an H, but here he uses the E, which indicates a date not later than Cimon signs No. 21, on the body of a dolphin, and No. 22, on the B.C. 410. band over the forehead, No. 30, on the G,
line
as
well
of exergue.
as,
probably, the chariot group
Euaenetus signs
the
vi. is.
"^i. ^^i-
from Messana,
chariot-groups,
No. 26, 17
Yi'^e,
AUT AND MYTHOLOGY OF COIN-TYPES.
130
Yi. 20.
on the exergual
vi. 23.
over-refined
VI. 40.
Pallas closely
The head
V.41.
and No. 29 on a
line,
and
copied on the coin No.
of Pallas on pi v. No.
All these
the artist Cleodorus.
which
40,
we
from Velia,
41,
;
next period.
to the
give
signed on the helmet by
is
they work
the same class;
belong to
artists
somewhat and a head of the
signs
graven head, No. 23
but carefully
fanciful,
Eucleldes
tablet.
with the minuteness and delicacy of gem-engravers, and are constantly introducing some pleasing new variety of type or treatment. It is perhaps scarcely
Mr Head^
easy to detail the characteristics of each engraver,
with remarking that the work of Eumenus
by a
characterized
by
and
stiffness
its
that of Euaenetus by an almost gem-like
roughness of execution;
certain
is
contents himself
minuteness of work, which approaches to hardness.
Brunn contents him-
Prof.
History of Greek Artists ^y with a strong expression of admiration for the work of Cimon, especially the decadrachms, and does not go into detail. With the exception of Eumenus, some of whose works belong to an earlier self in
his
period,
the whole of the artists seem to
even puzzle the keenest
ground of
style
with
Magna
cf)
in
be recognized. in .
character
us
tell
it
;
is
who has a
be said of
distinct style of his
VI. 31.
animal
Yi. 33.
ventional,
the state of contemporary
life
to
in
34
some
VI. 31.
who
artist
own which can
Some
art.
is
signs easily
not large
purpose to
of the rough works of
of the
history
The two
existence.
the single
eagle is
modern would
field
of No.
31
is
of No.
33
more
of art far
choose, to
a head
to mention, h propos of the
of
two
lies
naturalistic
earlier ;
but
of
and more conit
is is
hard
to
laid
on
have carried their booty to devour
dead, but the ancient artist has not chosen,
shew on
Pan
31 are
studies
finest
In both cases the scene
the birds of prey
The hare
at their leisure.
of No.
eagles
the more admirable.
lofty rock whither
as a
and exhibit some of the
are Agrigentine,
decide which design
it
might
it
instructive.
Nos. 31
VL31— 3i.
and
material and the
Peloponnesian and Cretan coin-engravers are in view
more
group,
Syracusan artists that their work
all
strictly appropriate to the
too
much about
form a
works to one or other of them on the
critic to assign
Graecia,
may
to
In this respect they are unlike the
alone.
It
me
the traces of beak and claw.
it
or perhaps of a river-god.
eagles, the
I
In the
must not omit
well-known passage of the Agamemnon^
which describes the portent which appeared to the sons of Atreus when about to set out for Ilium, two eagles, one black and one white-tailed, tearing a hare, an omen which Calchas interpreted as foretelling a happy end to the expedi-
The coincidence
tion.
both
may
known
alike
legend.
owe
At
words of Aeschylus with our type
their origin
all ^
of the
some
to
historical event
is
very close
or at least to a well-
events the coincidence will help us to reject the notion
Coinage of Syracuse, '
p.
22.
1.
114.
^
ii.
432.
PERIOD OF FINEST AET, EARLY— SICILY.
131
was common
that tKe Agiigentines put the eagle on their coins because
it
their neighbourhood, or because the cry [Kpavyrj) of the eagle
was
how
readily understand
perpetuating
The
fish
on
it
relief
on No. 32
the Agrigentines would be,
eager
them
of their history eagles brought
own by
and on
the crab in
is
turned into a
human
comic,
face,
Lastly,
by a
is
;
of
modification
slight
does not follow that
it
necessary to say a few words.
with
344,
six
first
whom
almost unique
was intended
it
to the coins of other
can be proved to demonstration that
It
rows of our plate belongs to the time before Timoleon, another
quite
kind
may come down
specimens on our plate
may
doubly their
it
the reasons of our exact determination of the dates of these coins
to
every coin in the B. c.
is
crisis
so.
As is
to us
effect
at a
Dr we may note how
This treatment of a type on coins
the back.
but though the
it
and
coin.
intended for a sea-perch.
is
the lines of
if
a remarkable piece of reproduction of nature
is
it
No. 34
make
a favourable omen, to
Gtinther thinks that
to be
name
All Greeks looked on the eagle as the messenger of the gods,
'AKpaya?.
we can
like the
in
comes
coins
Selinus, Naxus, Camarina,
cities,
be doubted whether
to
The Syracusan the time of Timoleon. But in regard of
in.
Segesta,
and the
are anterior to the Dionysian tyranny,
all
or
rest,
it
whether
some may not have been struck during its continuance. Certainly from the point of view of art it would be desu-able to bring down as late as possible such coins as 16 of our plate.
4, 7, 15,
Prof.
explicit.
Holm
thus concludes: 'That
But, on the other hand, the testimony of history seems
History of
in his all
Sicily'^,
summmg up
after
these cities (Selinus, Camarina, Catana, &c.) were under
'
the Dionysian dynasty either not autonomous or quite unimportant
'
which
is
naturally follows that they had no autonomous coinage.'
it
only city which
dependent It
the evidence,
ally
escaped the
hands
of
his
earlier
we thus
arrive
at the
extraordinary result, that numismatic art in Sicily had already before
Even
highest point and begun to decline.
who worked on
coins,
and who seem
in Sicily to
had carried refinement in execution to the farthest to
the
refine
cost
days of
away types of
of
until
affectation.
Timoleon
necessary to
Sicilian
b. c.
most 400
at that period the artists
have enjoyed peculiar esteem, possible point,
and even begun
they lost their meaning, and to pursue novelty at
And we art
shall
see
in
seems to have
our
next
greatly
even in South
II.
that It
is
in
the
scarcely
found in other parts
They would seem then
Italy. '
chapter
declined.
say that such phenomena as these are not
Greece, not
a
dates for Sicilian coins in view of the
testimony of history can scarcely be disputed, and
its
reign
of Carthage.
would seem then that the
touched
from
Segesta, the
became during
Dionysius,
clear^
to
demand the
446.
17—2
vi. 32.
vi. 34.
ART AND MYTHOLOGY OF COIN-TYPES.
132
Towards their explanation I will make but Such rapid progress of numismatic art must have been
attention of archaeologists.
careful
one or two suggestions. the result of
the honour paid to die-cutters in
the
to
island,
frequent
their
one with another, to the small number of subjects to which they cona few set types and chariot-groups, the possible variations in fined themselves, which are limited; and finally to their circumscription within the narrow limits
rivalries
—
by the
of space imposed
spread over a wider field or
with
less
prompt and rapid
Had
of a coin.
field
directed
the efforts of these artists been
higher
to
ideals
they might have met
success.
Northern Greece.
The
of
coins
be found in Nos. VII.
1.
may
These we
northern Greece selected 1
—
treat
21, those
as
one
of Central
The
class.
for
Greece in Nos. 22
coin of Thasos, No.
kneeling figure of Heracles discharging an arrow,
hero
is
3.
Nor do
ourselves
assure
— 27
1,
of plate vii.
which bears the
somewhat abnormal.
these
faults
arise
by comparing the
from inability in the
fine obverse of
artist,
we may
8.
Rather
the same coin. No.
quently depicted in coins of Thasos and the region of mainland opposite. the group, No.
coarse
VII.
from the Thracian city of Mende.
We
is
us
a figure
'22.
5.
and
solid.
deficiency VII. 43.
XVI.
23. G, 7.
viii.
L
ni. M.
from Haliartus or Ariartus in Boeotia,
2,
and
art, as to
specially appropriate to
national hero
No. 22, of the
is
a
which we
Poseidon, see
representation
pi.
i.
of the
shall 2,
have mox'e
14,
15.
The
Homeric warrior
Opuntii, a figure of Polycleitan type, square
Compared with the Syracusan hero, pi. vi. 5, he shews a certain of animation and excess of fleshiness. He compares also with the Ajax
of the next period. No. 43, as the warriors of the frieze of the temple of Bassae
with those vn.
Equally
of Poseidon with outstretched arm, striking with the trident.
charging Ajax from Locri,
who was the VI.
No.
have here a motive common in early
to say presently, VII.
7,
fre-
reclining on an ass, wine-cup in hand,
of Dionysus
^'II. 7.
offers
The
as
they arise from an assimilation of Heracles to satyr and centaur, which are
2.
will
here depicted with a coarseness of outline and clumsiness remarkable for
the period. VII.
is
our period
of
illustration
of
the
Mausoleum
frieze.
The type of
infant Heracles
strangling
which appears on the Theban coin, No. 23, is a very usual one at this time. It is found in the coinage of the cities of the Cnidian league, pi. xvi. G, 7, at Lampsacus, pi. xvi. 8, at Zacynthus, pi. viii. 1, and at Croton, pi. v. serpents,
10.
It
is
also
found twenty years
earlier
at
Thebes,
pi.
iii.
No. 48.
The
last-
PERIOD OF FINEST ART, EARLY— NORTHERN GREECE. mentioned instance
who in
back
by the more archaic treatment of Heracles,
The Zacynthian design
is
very peculiar
Heracles
;
grappling with one large serpent, while another prepares to attack his
is
the woi-k
:
distinguished
of less tender age.
is
it
is
133
strong but hard.
is
The other designs
are
aUke and
closely
.
somewhat superficial in character, the easy victory of the baby-hero over his two foes being rendered simply but without special force. The origin and meaning of the type are easily seen. It is originally Theban, and its adoption by other cities seems to be in them a clear sign of Thebaizing. In adopting it
those cities place themselves under the protection of the Theban hero.
we may, without
In
away with us, suppose that In there was in the type itself a meaning which generally commended itself th^ days which succeeded the fall of Athens, Thebes was the only power which could make head against Sparta and the defeat and death of Lysander at the hands of the Thebans must have made great commotion in Greece. From all sides the states oppressed by Spartan harmosts looked to this young and vigorous power as the only one which could liberate them from the serpent-like coils in which Spartan rule held them confined and within a quarter of a century the young power of Thebes had fully justified the expectations so formed. In Nos. 3 from Larissa, 4 and 5 from the Macedonian kingdom, and 6 from addition to this
letting fancy run
;
;
we have a
Pharsalus,
series
of figures of the cavaliers of northern Greece, which
gives us a good idea of their character and equipments.
the
causia
flat
or
^'^' ^•
^^-
They wore on
their heads
petasus (the terms seem to be equivalent), on their bodies a
chiton and a chlamys,
—which
streamed in the wind like the jacket of a hussar,
and carried a couple of spears. These horsemen no doubt were marked by the conspicuous among the latter, love and usual vices and virtues of aristocracies mastery of horses. So the type of the horseman, which those who adopted it ;
probably justified by seeing in
became the commonest of
it
the likeness of some ancestral or local hero,
The two Macedonian pieces The first was vn. 4, 5. Nos. 4, 5, have the further interest attaching to a fixed date. minted by Archelaus I. B.C. 413 399; the second was issued by Amyntas HI. B.C. 389 369, and shews a decrease in dignity and an increase in detail. Next follows a remarkable series of heads of male deities. No, 8 is a Diony- vn. s. sus from Thasos, wearing an ivy-wreath, the treatment of which is worthy of note; a work of great beauty, and in dignity rather like Zeus than the god of revels. Not less noble are the two heads of Dionysus from Thebes, Nos. 24, 25, vii.24,25. all
types in the north.
—
both
full
22, vi.
times is
;
of a mild
In
14.
he
first
dignity.
We
may
also
fact these qualities usually
compare the
mark the efBgy
Sicilian
heads,
pi.
11.
of Dionysus in early
becomes youthful and effeminate in the time of Praxiteles.
No. 9
a work in the large and simple style of the Macedonian school, a fine Hermes
from Aenus.
During
this
period
full-face
effigies
of deities, which
had
hitherto,
n.
22.
vii.
9.
AET AND MYTHOLOGY OF COIN-TYPES.
134
seldom appeared on
because of the difficulty of producing them, usual
quite vn.
0,
n, 9^
11^
and are completely
;
present plate,
of the
24,
Some
successful. pi.
VL
22, ix.
of
become
coins,
them
are masterpieces, as
15.
During the decline
26, x.
VI. 22.
they again become
X. 15.
The hat of Hermes here, as in pi. in. 35, is a close-fitting 5 above, felt-cap, by no means identical with the Thessalian petasus, cf. Nos. 3 to vphich it was later assimilated at Aenus. No. 10 is a head in a somewhat dry style of art, probably representing Apollo but possibly Ares, since the coin is Macedonian, and in the north Ares frequently took the place of Apollo. This head is bound with a simple taenia
the instance
rare,
xiv.
pi.
standing almost
11
alone
as
a
successful attempt.
—
VII. 10.
VII. 11,12,
and not with the laurel-wreath usual in case of the Delphic god.
Nos. 11, from
Amphipolis, and 12 and 13, from Olynthus in Chalcidice, are singularly beautiful
They belong however
specimens of the art of northern Greece.
The
head
full-face
Though the work
florid type. VI. 22,
treated with extreme delicacy but
is
pL
pieces of the Sicilian artists,
In the sharp, hard cutting
thus are not without touches of archaic severity.
and
of the features,
remmds us
treatment are
VII. 14.
Megara,
is
the heads
also
Apollo,
of
an Apollo, and of
pi.
Here, as in
class.
the head ends abrujDtly at the neck,
which
paws VII.
to the lion's
32, XI.
nymphs, and olive.
16,
nymph Olympia,
No.
the head
more
a later time,
hero's throat,
of
which covers of congruity,
added
in effect,
skilled
it
that
Neapolis,
marked by great hardness of features. The best specimen of the
pi.
viii.
27, of
No.
18,
which we
shall
of
see
pi.
vi.
15,
the
initial
and
class is
speak in
its
but not
fine
the head of the place.
The head
has been injured on the cheek: in gentleness
The letters TH behind The Medusa-head, from
approaches the works of the next period.
may be
Nike crowned with
detail,
letters
of an artist's name.
Neapolis, No. 19, occupies a middle place between the Gorgoneion, partly terrible art,
and the beautiful
heads in
dying Medusa, which belong to later times and which 6.
belongs
of Heracles
awkward want
are
and partly grotesque, of early
XIV.
which
14,
38, the lion's skin
12, iv.
from
No. 26,
15.
bearded head
a
them round the
tied
x.
of
42.
of Pallas, from Pharsalus, of expression
VII. 10.
15,
In
causing an
from the Macedonian
All of these
expressive cast of
VII. 18.
and
scalp,
26, xil.
of
artists
pi.
kind
of this
Nos. 15, from Euboea, and 17, from Pharsalus, represent the heads of local
vii.15.17.
VIII. 27.
when
disappeared
and
8
viii.
something which
is
instances
notable
we have
pi. vi.
there
of hair,
early type.
fine
quite to the beginning of our period,
the stern early
locks
Other
bronze work.
of early
vii. 26.
of the
especially
resembles the master-
it
But the heads from Olyn-
22 for instance.
vi.
nevertheless of rather
is
more noble and manly,
is
to different schools.
pi.
XIV.
6.
The old type
softened form
;
is
here retained,
we have something no
cf.
longer
pi.
i.
we 6,
shall
profile
find on
of
the
coins,
but in an indefinitely
dreadful but merely quaint, and
PERIOD OF FINEST AET, EARLY— NORTHERN GREECE.
135
the terrible snakes in the hair of the daemon are replaced by merely sharply curling locks. On the coins of Parium and Abydos we may trace the change
by
step
In No.
step.
the lion and bull on the coin of Acanthus pursue vn.
20,
the eternal battle which symbolizes the conflict between heat and damp the physical elements of the world. Comparing this with the earlier
from the same
city,
in.
pi.
we may
13,
never seen a of both
There
lion.
animals
group
He had
little.
m.
13.
evidently
indeed a decided loss of vigour in the rendering
is
in the
;
among
observe that the later artist in spite
of his technical skill has really improved the design but
20.
group
earlier
the
claw
lion's
really
is
the
in
fixed
and the bull is evidently sinking beneath his weight the later group is little more than decorative. The sculptured group from the doorway of Acanthus, of which casts are to be found in museums, nearly resembles the present
prey,
;
type.
It
is
be observed that in the early period, as we know from Hero-
to
the march of Xerxes^,
dotus' narrative of
but
afterwards they nearly or quite disappeared from that
for this
reason or some other,
Greeks of Hellas and real
were to be found in Thrace;
lions
lions,
— declined
it
—I
Sicily,
delineating the
that in
certain
is
failure
decadence
is
from period to period, their representations even when in
Perhaps their most
clearly
But even on
from Chaeroneia.
the colossal lion
be
can
the
lion
do not say those of Asia Minor, who might see
themselves fine being quite unlike the animal represented. notable
Whether
district.
In early
traced.
times
Greek
the
the
coins
though
artists,
never in this one matter rivalKng those of Assyria, yet could depict lions with vigour, see pi.
i.
33,
as the present, No. pi.
XI.
11.
32, iv. 14.
41
below,
Later
and
v.
pi.
we have merely and
26,
even
decorative figures such monstrosities
such as
18.
No. 21 from Olynthus gives us one the Greek
lyre,
all
the
parts
of which
of the are
extant
best
No.
clear.
remarkable for the treatment of the ivy-wreath which decorative style and
fills
the
field in
a
way which
is
representations
27,
from
depicted
Thebes, in
of
vii. 21.
is
vn,
a highly
quite admirable.
is
Peloponnesus.
Plate 1
to 24
VIII.
were
contains specimens of Peloponnesian art during our period. in all probability issued in the
course
of
it.
And
Nos.
with these
it
seems best to include Nos. 25 to 30, which although they would seem to have
been issued just after
B.C.
are
371,
common with the beginning than
yet of an early
style,
and have more
the middle of the fourth century. '
Hdt.
VII.
125,
6.
,
in
27.
ART AND MYTHOLOGY OF COIN-TYPES.
136 Yiu.
1.
VIII.
%
No.
'
:
from 2acyiithus, a most original rendering of the combat of young
1
No. 2 from Cephallenia
Heracles and the serpents, has already been mentioned.
represents the hero Cephalus, seated on a rock, with a hunting-spear in his hand.
The proportions
and the head
of the figure are clumsy
large,
yet the work
The comparison
of a good time and rather careless' than unskilful.
of this
is
coin
Leake to the belief that the so-called Theseus in the eastern pediment of the Parthenon was really mtended for Cephalus. Nos. 3 and 4 from Ehs are, like led
viiL
3, 4.
all
case hurries to greet
she fly
Olympic
types of Elis, closely connected with the
sits
an agonistic
holding out a wreath; in the other case
victor,
on some steps holding a palm.
or alight, but runs, as
which
figure of Victory,
be familiar to the
original copied in the English
figure is seated
neither
of two
consisting
Victory on the
sometimes even in Sicily
will
This
see pi.
:
eyes
of Elis
coins
The seated
19.
il.
does not
some readers as the
of
This
Waterloo Medal, requires special discussion.
on rock nor chair nor
steps.
Victory in one
festival.
is,
phenomenon unique
a
believe,
I
but distinctly on a basis
altar,
in
Greek
would be that the intention of the artist was to suggest some monumental figure of Victory which was erected I say suggest and not reat Olympia and placed on a pedestal of this kind. numismatics
'produce^
and the simplest explanation of
;
it
because as already stated more than once, at this period engravers
not slavishly copy works of sculpture,
coin-dies do
designs of their
own suggested by works
these in turn to the minds
of the
the
most produce
of art familiar to them,
and suggesting
was
or
at
least
sitting in this attitude
one
of
the most
we cannot
say
but
at
Probably in
people.
the engraver of the present coin had in his mind a the principal,
of
;
figui^e
important it
the
of Victory
figures
indeed in
is
monument which was
either
but that
;
itself
she
most unlikely,
though well suited to a relief, is ill suited to a statue in the round, especially if such statue were to be looked at from behind. Do we know of any monument of this period which will suit the cn-cumstances ? I have elsewhere for the pose,
suggested^ that the
monument which
by Pausanias ^ as erected by the Eleians they had won over the Lacedaemonians. was Daedalus of Sicyon, and it was set which date will suit our coin admirably. vin.
5.
No. appears
viii.
6.
5
represents Bellerophon
on the other side
of the
them
is
that trophy mentioned
in the Altis to
commemorate a victory who made this trophy
suits
The sculptor up nearly about the year
spearing
the
This
coin.
best
Chimaera, rare
the
piece
is
figure
almost
abnormal device which breaks the uniformity of the
Corinthian
attitude and dress are usual for horsemen, see
5.
Avorthy head of Zeus of the finest
'
style,
Niimism, Chron. 1879,
p.
from
242.
pi.
vii.
Elis.
At '^
vi.
No. 6 first
2.
8.
B.C.
of
400,
which
the
only
coinage.
The
is
a very note-
sight
this
head,
PERIOD OF FINEST ART, EARLY— PELOPONNESUS. which
well rendered in the plate, seems to
is
what the head of Zeus should energetic expression, are cui'led
beard and
all
The
be.
In their place we have very short closely-
wanting.
extremely large features of the
hair,
air of
calm unruffled majesty.
pi.
V.
but the cast of features nowhere
wrought
in the
curls,
How
Zeus, of which No.
may
coming from
coins,
found on the coin of Locri,
is
No. 26 also from Elis
ae^ain.
37
Elis,
a
serve as
and executed by
and busts
who had
artists
have excited much discussion among
and
archaeologists-^,
But we must
No.
my
the
great
under
seems to be entirely apart
26,
from
Pheidian
the
resembles the head of Dionysus from Naxus,
vi.
pi.
No.
idea of immature art with careful detail of execution. is
and
large
original,
But the
Pheidias.
and may be the work of a great
greater the
artist
the
the type introduced by a contemporary,
perhaps
For
therefore can help us only in generalities.
bably the coin of Elis of the time of Hadrian,
must
have
certainly
lived at a tmie usual.
his intention.
of
rival
he
be
school.
this intention to copy
lies
The
the safest guide
makes
it
his
want
2(>.
vi. 14. "viii. 6.
adopt
to
is
coin pro-
xv. 18, the engraver of Avhich
in
viii.
time of
the
and
of works of the great time of Greek art
been unsuccessful the fault
And
pi.
closely
It
combines an
intended to copy the head of Pheidias' statue,
when the copying
If he has
details
piece.
on the other hand
6
artist
of a
service
archaistic
like it
would
likely
less
eyes,
of that
much
conception.
and
14,
their
head
of
is
The
between them.
chrysele-
has been disputed
it
opinion neither coin
distinguish
is vin, 37.
Naturally these
!
whether they help us towards recovering the true type of the In
which
specimen, and
representative statues
half turned
is
from the ordinary type of
phantine statue of the Olympian Zeus by Pheidias directly
in this respect.
v. i4. 2r
the carefully
distinct i^emains of archaism in
different are these heads
greatest of works of Greek art.
also
is
Yin
but a few of the extant
all
hair
Greek type and
purest
fashion of the beard, even in the eye which
towards the spectator.
repeated in
The short
Here we have
an unexpected type.
our ideas as to
all
brow, the mane-like hair, the
lion-like
an
14,
with
conflict
137
of talent
xv.
is.
also
was
not in
more smgular that the head
he gives so nearly resembles that of Zeus on archaistic reliefs^. Next to the Eleian heads of Zeus, the heads of Hera claim our attention.
Of these the most
beautiful
is
No. 15 from a coin
of Elis;
resembles both in style and execution that of Zeus, No. justified
in
them both
giving
to
the
same
artist.
that
6,
With
which
this
so
closely
we should be vm. head we may
compare No. 13 from Argos, and two others belonging to a later time. No. 14 from Argos and No. 29 from Elis. With regard to these a question has been raised similar to that recently discussed, namely, whether in these coins we may acknowledo'e a close approach to the ^
^
G.
ideal
of Polycleitus
as
embodied
in
Kussian Comptes Rendus for 1875.
See
especially" the
e.g.
Overbeck, Kunstmythologiej
pi.
i.
viii. 15
6.
18
his
(>.
viii.
I;;.
vni.
29.
ART AND MYTHOLOGY OF COIN-TYPES.
138
was set up during our present period an interesting question; but one which must be answered mainly in the negative. We may begin by eliminating No. 14, the hair of which is arranged in as well as No. 29 which masses in the style of the next period, cf. No. 40 colossal statue of
Hera
at Argos, wliicli
;
The hair in this case is plaited behind in archaic fashion, presenting a very marked contrast to the finished work of mouth and eye. The expression of the goddess is haughty and contemptuous rather than majestic, and the olive-leaves with which her Stephanos is bound are elabears distinct traces of archaism.
borated with the detail which belongs to later numismatic art than that of the VIII. 13.
13 and 15 on the other
In Nos.
school of Polycleitus.
And
a time before B.C. 400.
in
hand we have works
both of these, differing as they do
in
of
details
and in style, and various as is their merit as works of art, I would yet see something of Polycleitan influence more especially in the Stephanos which the In the statue of Polycleitus the goddess wore a Stephanos goddess wears. ;
Horae and Charltes^, and a tall round Stephanos Now the appears on the head of the statue of Hera on late coins of Argos 2. head on our two coins wears a notable Stephanos which is adorned with floral adorned with figures
ornaments,
and
of the
seems
it
consonance with the laws
be quite in
to
Greek
of
numismatic art to suppose these ornaments to be a translation of the figures of We may then go so far as to say that probably had our Seasons and Graces. coins been struck
been very different from what they are
arrangement of hair our two coins
may vm.
but there
:
from
differ
all
we must
existing
Especially in
stop.
of Hera,
statues
of
Epidaurus.
hard and dry work, and expresses none of the benevolence which in
effigies
At about the time when
of this god.
It
we
Zacynthus, No.
of Apollo from
No. 27,
may be spoken
their lines are hard
bronze
;
;
the head
of
is
and that of the nymph Olympia from
of together
and strong and
the
still
long,
nymph
because
they
are
alike
closely
and they impress us
clear,
and turned back from the forehead
distinctly
from the western pediment
reminds us of that of
Olympia and not the Olympian Hera
by considerations
'
of style, but also
Pausan.
ii.
17.
4.
but we
The head
like
in
Olympian temple.
the
represented
is
by the
^
of the
fact that
is
made
like a
fabric
In the
woman's;
reclining
That the certain
Elis,
works in
they have in fact in them something of archaic want of geniality.
Apollo the hair
figvire
8,
of
was struck Thi-asymedes of
it
do not know that there was any connexion between coin and statue. 8,
is
look for
Pares was setting up his celebrated statue of Asclepius in the same city
vm.
and
well also have differed from contemporary statues.
No. 7 gives us a head of Asclepius from his city
7.
would have
before the erection of the Polycleitan statue they
corner
nymph
not only
the inscription 'OXvjaTrta
Overbeck, Kunstmyth. ui. 125.
is
PERIOD OF FINEST ART, EARLY—PELOPONNESUS. found on similar
and apparently
pieces,
not a mere epithet.
as the
name
of the person represented and
Nos. 9 and 12 are heads of Cephalus and Procris from the
island of Cephallenia, where their
myth was
Cephalus as in No. 2
at home.
sturdy young huntsman with short clustering hah and thick neck. Cleonae
is
139
one of the
a
No. 10 from
come down
radiate heads which have
earliest
is
viii.9,12,
to us.
It
represents Apollo as the sun-god, and the
manner in which it looks directly out of the coin, a thing almost unknown in Greek Numismatics, may have a meaning as rendering the round form of the sun's disk. The same result is attained by a peculiar treatment of the head in profile, on the contemporary Rhodian coin, pi. X. 16. The helmeted head No. 11 and the three heads of Aphrodite, Nos. x. 16. vin. 11, 16, 17, 18, are all from Corinth, and are of a beauty which is quite extraordi- ic, 17, is.
....
.
nary considering their
and
female heads
beautiful
of
styles
different
of Corinth
coins
furnish
coiffure in
which reigned among the Hetaerae of the
reflected the fashions
of Greece.
The smaller
size.
a
gallery
may
which we city,
of see
the demi-monde
No. 19 also from Corinth gives us a playful, scarcely comic represen-
viii. 19.
tation of Pegasus tied with a rope to the wall, and instinct with eagerness to be
The immortal steed on other Corinthian
gone.
a stone taken from his hoof
being the Agrigentine coin
subjects of
Greek
the
No.
20
vi.
pi.
Sicyon
from
—
to
we can
but
34,
offers
the Chimaei-a, a creature
art,
were adopted by Hellas from Asia Centaurs
drinking
very seldom that
to the perfection of art than even centaurs sities
is
such
;
in some, having
are
liberties
the only other instance that I can cite at the
with a religious type; Corinthian levity.
It is
coins
true
Greek
art.
media ipsa Chimaera/ especially
;
and
for
the
moment
working of
most unsatisfactoiy
one
of the
still
more clumsy and repugnant
vi. 34.
vni.
20.
In No. 21 the device, an eagle vm.
21.
griffins.
These hybrid
but never quite
The Chimaera,
suffers
allow
taken
'
prima
monstro-
assimilated leo,
— except
postrema draco,
from the wretched necessity of imposing
and no a feeble and most superfluous goat on the middle of a lioness' back skill in rendering the lioness can much mitigate the helplessness of the result. ;
We
now
reach some more types from Elis.
wrought into the circular form of a Greek buckler. No. 22 is vm. a most sphited group, an eagle and a serpent in deadly conflict. No. 23 is a vm. noble eagle's head, below which is a leaf; No. 24 a winged thunderbolt. No. 30 vm. an eagle standing, erect in a wreath of wild olive. Thunderbolt and eagle alike are the symbols of the Olympian Zeus, and the eagle tearing the prey, in especial, tearing a ram,
is
is
the sign sent by him to those he favours; the sure
presage of victory.
22. 23.
24,
In
the eighth book of the Iliad Zeus is said to have sent to Agamemnon as a sign To two of these representaof his favour an eagle bearing a fawn in its claws,
them a signature which may the field of No. 22 and are vm.
tions peculiar interest attaches because they bear on
be that of an
artist.
The
letters
engraved on the leaf on No.
23
AA appear
in
though scarcely distinguishable on our
plate,
18—2
vm.
22.
23.
AET AND MYTHOLOGY OF COIN-TYPES.
140
As
sometimes sign in the
artists
the type
and hardly any but
field,
the balance of probability seems to be in favour of our reading
itself,
who engraved
these two letters as the initials of the artist so,
the matter
lies
open to conjecture, and
it
these two pieces.
Olympia not making statues of Olym-
only in erecting the trophy already mentioned, but in
it
have assured me, by no means unworthy of so great a sculptor. The coin of Messene, of which the tWo sides are represented under Nos. 28 and 25, is of importance. The head of Demeter on the obverse is in very high relief and one of the most massive and splendid effigies we have, though the nent
2*^,
at
That Daedalus was the actual designer of these coins we cannot is something more than a possibility, and the designs are, as emi-
pian victors^.
Yin.
If
at least worth while to point out
is
that at this period Daedalus of Sioyon was certainly employed
prove, but
on a part of
artists
artists
type has nothing to
make
it
a
and sorrowing
portrait of a matronly
fit
divinity.
young beauty who has the world at her feet. And it would not help us were we to suppose that the head is not of Demeter but The fact is that as of her daughter Persephone, for the type suits her no better. Overbeck'^ has remarked, the heads of Demeter on coins do not bear the same
Rather
looks like a proud
it
come down
character as those belonging to statues which have
embody
far better
property of the whole their
in
local
would
reason
of
Greek
the
is
present a deity is
various
in -more
art,
our
were
were the
which
learn from Pausanias
not the
is
tradition
local
This local character belonged
we may
places to the Chthonian goddesses, as
take the
or
special
character from the general myths.
And we may
hymn.
which
that
on the other hand, being more
while coins
race,
Arcadia and other parts of Greece Demeter
all
as a benevolent
probably
myths
current
would often follow a
character,
differ in
many
Greece
Demeter
discrepancy
this
with
consonance
intended to be in
fully
naturally form of
most of which belong to the maturity and decline of Greek
statues,
in
The
matronly goddess.
and
we
the ideas which
and which
to us,
deity
the
of
;
in
Homeric
opportunity of remarking that coins frequently lights
than
sculpture
either
or
vases.
Their
the Greece mirrored in the pages of Pausanias, while the Greece of at
events the more usual
remains
sculptural
is
rather the Greece of poets and
historians.
The
figm*e
of
Zeus on the reverse of our Messenian coin
which we have met raised hand, I.
1, in.
15.
VII.
-2.
5,
VII.
2.
strides forward
and an eagle perched on
have noticed as given to Apollo,
' '
He
before.
To the
latter deity it
pi.
his i.
1,
with a thunderbolt in one up-
advanced 13,
left
'
Kanstmytholoyie^
For
III. p.
This attitude pi.
Num.
Chron. 1879,
p.
in
the
2,
i.
seems especially appropriate, the
details see
452.
arm.
and Poseidon,
thrown forward to balance the weight of the trident
^
an attitude
in
is
left
right.
242. ^
Ibid. in. p. 222.
14,
15,
we V.
arm being Overbeck^
PEEIOD OF FINEST AET, EAKLY— PELOPONNESUS. tliinks that it specially belongs to
him longer than
retained for
same attitude on pL
sene,
We
xii.
late
Poseidon as the opponent of giants
may however
Zeus who appears
in favour
cite
of the
always a
is
and archaic pattern. Our present coin, No. which the figure has not the spareness and
that of Mes-
42,
of Overbeck the
opinion
on coins
in this attitude
viii.
pi.
and copper pieces of Athens,
of Syria,
II.
25,
and was
^,
indeed a Zeus in the
find
such as that of Corinth,
coins,
those of Antiochus
47,
We
other deities.
for
141
xii. 47.
that the
fact
of traditional
stiff figure
in vm.
almost the only instance
is
viii. 42.
25.
and even here
rigidity of early art,
the fleshy pi-oportions only of contemporary schools are introduced, the attitude
not
is
from
altered
rendered in of swing
Greece
and
v.
pi.
vii.
5,
and
2,
would look
This certainly
spirit*
had before
same
as
hand
the other
minds only archaic
their
but knew of figures
attitude,
has
It
of
as
figures
freer
the
if
pL
the
3,
are
are indeed full
;
on
figure
were restored to their own city by Epamhiondas.
the
to be in favour of this theory.
and the type
suit the age of Ageladas,
turies
If
apart.
the
so
The design
coin
on
the
;
but preserves
some coins of Messene,
early instance
an
of
to be taken from a definite
faithfully
its
general
attitude
work
Of the
coins of Crete
and Cyrene,
pi.
ix.,
For to that period they mostly belong, though
More
likely,
attributes.
On
title.
we speak under the next it
is
merely as hunter of marine-monsters, see
pi.
limits of time within
and
should be observedj we have beside the figure of Zeus,
it
the legend IGQM.,.^ the commencement of his distinctive
^
would well
a copy which does not indeed reproduce the proportions and contour of
original^
,
when they
exactly repeated at periods two cen-
shewn
not easy to
fix
period.
the exact
which they were current* v.
5,
where the head
of
one
is
introduced. ^
Overbeck, Kunstmyth.
was youthful ^
:
this
however
Pausan. Messen, 33.
There
a general opinion that the figure of Zeus
by Ageladas
11.
12.
is
not necessarily implied in the statements of ancient writers.
is
,
3.
of
coins
of opinion seems
of the figure is such as
vm. would be an
pi.
intentional copy on coins which can be of art
is
hill,
The balance
xii.
Poseidon in
.
Acropolis
5.
with
Messene, pi. vm. 25, and xii. 47 is copied from the statue of Zeus Ithomaeus ^ ^ executed for the Messenians at Naupactus by Ageladas and set up ^ by them, not in their Acropolis, but in a house at the foot of the
v.
of later
striding Zeus
representing
the
of
xii.
die- cutters
of the
style
been supposed^ that
several
especially
accordance with the state of contemporary art
full
outstretched arm,
the
such
of Poseidon,
figures
On
traditional pose.
its
,
"Viii. 25.
XII. 47.
AET AND MYTHOLOGY OF COIN-TYPES.
142
Asia Minor.
Passing then to Asia Minor, region of
The
art.
pi.
and
once plunge
at
new
a
quite
into
and Hellas during the present period executed. In Asia we find a greater mix-
Sicily
corns of Italy,
are almost all beautiful
we
x.,
carefully
and barbarism. The reason is that already stated in the last chapter, that Asia Minor mcluded not only the flourishing Greek cities of the coast, but semi-Greek populations like those of Lycia and Thus on our plate beside the pure Cyprus, and tracts of absolute barbarism. ture of good and
of beauty
bad,
Ehodes and Chios we
Hellenic art of Cyzicus and
and Aspendus, Nos.
half-barbarians of Side
of settlers on
Pontus, No.
borders
the
Yet
17.
it
outer
of
clear
is
that in our present period the Hellas has learned what
her instructress. quite Asiatic
;
On
pi.
pi.
x.
on
barbarism
tide
Asia can
of
influence
and
teach
is
of the
Greek
recall
studied
we
types on spite of
Cyzicene staters can
still
good,
Nos.
yet there
1
—
is
subjects;
of Hellenic
soui'ce
and we know the extent
;
of our
9,
And
works
plate
recent
a
if
speak in the next chapter,
of Attic clearly
art.
be
The forms
influ-
So too
traced
to
a
an
Attic
still
of animals are
And even
large
in
the
theory is
a
be well still
number
more
of the
But in a marked
source.
in
favourite
case
discern
which seem to
retains
still
may
in Asia
of the
subjects staters
though their subjects be very varied and their execution a tendency to sacrifice all propriety in order to adapt the which makes those types resemble patterns rather proof that even in flourMiing Greek communities
field,
supplying a
something of the old Asiatic leaven constantly
Greek
special
5,
shape of the type to the
than
Athens
rendered in conventional style.
of Cyzicus,
of any
influence
aU western influence the art of Asia Minor
degree the decorative element.
would be hazard-
In accordance with these data we
shall
decided reminiscence of a work
and
at
the style of Pheidias and his pupils.
founded, No. 27, of which
It
style.
Brunn thinks that the Lycian who carved
Prof.
and the Zeus, No.
7,
east.
we had coins of Greek cities which were m style we have money inscribed with Aramaic and Pamphylian
Athenian maritime empire.
in the Pallas, No.
to
already beginnmg to instruct
but probably Athens was the chief
monument
west
iv.
iv.
ence to most parts of Asia.
the Xanthian
Trapezus in
of
from
setting
is
ous to attempt to trace in the art of Asia the ;
people
efiforts
from a general comparison of plates x. and
characters which bears types of unmistakably
master or school
the
like
productions of the
and the struggling
11,
10,
6,
find the
make allowance
still
worked.
for this tendency.
In considering them we must
PERIOD OF FINEST ART, EARLY— ASIA MINOR.
On
No.
M. Six^
1
is
a figure
as Cecrops, the
whom
it
perhaps most
is
fierceness
which marks the serpent-footed
he grasps
will
No. 2
On
is
a radiate figure of Helios holding two horses.
way
towards
a copy
of Harmodius
free
canon,
style of its
2.
3.
x.
4.
subordinated to the neces-
idea.
On
;
and w^hat
No. 4 we find a
and Nesiotes, of which there a more faithful rendering on late
is
Comparing the two derivatives from the same
how own
is
a
coins
original
xv. 30
the present coin translates the group into the vigorous time, shaping the figures according to the Polycleitian
while in the Athenian coin there of space
a remarkable
Critius
group there
this
30.
at once see
as limits
far
xv.
pi.
is
x.
x.
can scarcely be called, of the celebrated Athenian group
it
Of
This
each hand the bridle of a horse
and Aristogeiton, by
copy at Naples. of Athens,
is
but a mannered rendering of this
is
reminiscence,
we may
On
wished to represent Helios as advancing
artist evidently
spectator holding in
the
he gives us
and
The
of grouping.
which perspective
in
i.
In that case the tree which
giants.
not be a rough weapon of defence, but the olive of Athens.
group, especially for the
x.
has none of the
it
a figure of Nike kneehng, the upper part of her body altogether bare.
is
No. 3
sities
reasonable to regard with
king of Attica, since
serpent-footed
143
the real
allow,
is
a distinct attempt to reproduce, so
On
of the originaL
character
No.
5
we
x.
5.
have a kneeling archer holding an arrow which he is about to place on the This design is of a class very common at Cyzicus. It is string of his bow.
noteworthy that in this from
the
beliefs
of less
several designs in
and
traditions strictly
Pamphyha, an Aeolic colony
and
Pallas,
both of which
among Greek
alone
city,
the
of
mints, the types are borrowed
most varied
We
regions.
next reach
Nos. 6 and 7 are from Side
Hellenic character.
x.
6,
of the coast, dedicated to the worship of Apollo
deities here
appear.
On
later
coins
the
Apollo of
Side has a barbaric appearance, but here, on No. 6, he is Hellenic, and in fact nearly resembles in attitude the Apollo of Metapontum pi. i. 16, and hke him
and bow, and stands at an altar. Unlike him however he wears a chlamys, and is accompanied by a raven, the bu^d of soothsaying. This close likeness between two coins struck at the two ends of the Hellenic world, and at different epochs of art, is instructive. On No. 7 appears a Pallas whose
x. 1.
6.
16.
holds lustral branch
stout proportions, with the
manner
argue a somewhat early period. her
left
rests
on the rim of a
in
On
which her limbs appear through her
her outstretched right hand
shield,
and the aegis covers her
is
an owl, while
breast.
This
is
a
the Persians represented nearly in the same attitude and with the same attributes which belonged to the Assyrian Asshur. The reverse of the
whom
'
Num.
Chron. 1877,
p.
170.
7.
dress,
type of the goddess which recurs at a later time in Asia, see pi. xiv. 2, and was On No. 8, a coin issued by the probably not unusual in the case of statues. Satrap Tiribazus in Cilicia, we have a shghtly Hellenized form of an Eastern deity,
Ormazd,
x.
xiv.
x
2.
8.
ART AND MYTHOLOGY OF COIN-TYPES.
144
X
same
0.
No.
piece,
9,
a figure of the Hellenic Zeus standing with a himation
l:)ears
In the Greek cities of Cilicia, Zeus over his shoulder and an eagle in his hand. was the chief object of worship; and we suppose that the city of Tiribazus' satrapy which issued the coin reserved the reverse of it for its own national deity, This is scarcely while conceding the obverse to that of the over-lord Tiribazus.
an
of syncretism
instance
both a
civic
religion;
in
community and a
rather
ruler are
it
shew how completely and represented by their
serves to
embodied
in
respective divinities. X.
10 and 11, from Aspendus in Pamphylia, being accompanied
Nos.
10, 11.
by a bar-
barous legend, shew that agonistic types were not pecuhar to the pure Hellenes. On No. 10 we have a slinger, the transparency of whose short chiton is
most remarkable, and
No.
in
to get a better grip of the other's
arms as the
whom
of
wrestlers,
a pair of
11
each
is
trying
These
step towards victory.
first
somewhat lean and of exaggerated muscle, resembling earlier coins of the southern coast of Asia Minor being at this time especially the real Greeks backward in the development of art. In No, 12 from Celenderis appears a horsefigures are
;
X. 12.
man
alighting, a figure
worthy of Tarentum, and entirely
lY. 26.
of the earlier instance of the type, pi. iv.
X. 13.
Chios,
No.
13,
a figure
26.
Very
free
fine also is
from the
stiffness
the Sphinx from
combining in very bold design an archaic form of wing
with a proud pose and a beautiful Greek head with hair rolled up close in the The fashion of ordinary women, instead of hanging as usually in formal curls. result justifies the artist's attempt,
though he may
fairly
be accused of trying to
put new wine into old bottles.
No. 14
X. 14.
is
quite one of the most noteworthy
Greek heads
in existence;
the
meant for a Persian is proved by the head-dress, which is the regular mitra of Persians and Phrygians. The expression is majestic in the extreme, dignity and the habit of command are written on the large coin
vm,
G.
is
That
from Colophon.
it is
regular features.
This head
of Zeus,
6,
pi.
viii.
which
is
unlike any Greek ideal, not even like the head
for a
moment
it
Is
recalls.
it
then a portrait
?
It
M. Waddington sees in it the head Head^, on the other hand, remarks the
has sometimes been considered to be such. of
King Artaxerxes
Mnemon^
Mr
absence of the regal Persian crown, the turreted Jddaris
be meant for Pharnabazus.
And
certainly a similar
name of Pharnabazus. But not on such only money bearing an effigy which if very inferior
the
resembles
not
even
portraits
'
it
in general character.
I
cannot think
it
;
head
and thinks that is
found on coins bearing
many
;
in
must
it
style
Persian to
the
satraps
issue
present
possible that at a time
yet
when
Dionysius of Sicily or the Macedonian kings ventured to put their on coins, such a liberty would be taken in Asia by a mere satrap.
Mel
de Niimism.
p. 96.
^
Coinage of Lydia and Persia,
p. 50.
PERIOD OF FINEST ART, EARLY—ASIA MINOR.
145
Surely such a venture would have cost him his post and his life. Nor indeed do we find in the present effigy anything individual the type, though marked, is general and impersonal. On the reverse of the piece is the inscription BASI ;
;
and
legend appears conclusively to shew that the head on the obverse
this
is
intended to represent the Great King. Yet it does not seem to be in any sense a portrait it may be doubted if at the period true portraits existed. The Greek artist who executed the type, having probably small idea what the King really ;
was
like,
And
in
simply tried to express his idea as to what a Persian king ought to be.
this
as well as
he has succeeded admirably.
dignity and the
Noble birth
habit of command.
languidness and haughtiness
in
the
cast
is
expressed in the type,
Perhaps there
of features
;
is
something of
but these were
among whom the
precisely
would seek his models. But the head is in several respects unhke that of contemporary Greeks. No. 15 is from Rhodes, and represents the Rhodian Apollo. It does not receive justice in the plate, owing to its high relief, yet our photograph gives of the
characteristics
Persian nobility
an idea of the peculiar hardness and sharpness of the
work of
of the
early Italian painters.
features,
which remind us
The date must be about
B.C. 400, shortly
the foundation of the city of Phodes.
after
artist
It
cannot possibly be earlier than
408 when that city was founded by Lindus, lalysus, and Camirus. of the
same deity occurs on No.
16,
x. 15.
The head
from the island Megiste, but here on a
x. I6.
and pleasing way of indicating a sun-god. This is perhaps the earliest of radiate heads on later coins of Phodes and the Syrian Kings the and later still, on Roman rays are attached to a fillet passing round the head I'ayed disk, a simple
;
;
coins
they appear like metal spikes, with very
inferior
fitness
and beauty.
No.
17,
from Ti^apezus, represents a young male head, drawn somewhat coarsely; No.
x. 17.
18,
from Cnidus,
This must be earlier than the statue
x. is.
is
a head of Aphrodite.
and is probably copied from no image. It is also of hard and rough work, and though bold not equal in style to the lion's head on the reverse On of the same coin, No, 20, which is of noble style, if somewhat mannered. No. 19 is a bull from Cyprus between two oriental symbols, the winged disk of Praxiteles,
and the crux ansata, a semi-Hellenic form to these
fair
type of the art of Cyprus, always
giving definite
and so always repeating the same No. 21 we have the rose, the symbol of
and not progressing.
On
art,
the island of Rhodes, a good instance of Greek conventionalism in flowers, with a small sphinx seated beside
G,
x. 19.
oriental ideas, yet without the innate force to form from
an original and consistent cycle of
simple forms
x. 20.
it.
19
x. 21,
ART AND MYTHOLOGY OF COIN-TYPES.
14G
Copies of Statues.
the xvth plate are a few late copies of statues by Pheidias and his con-
On XV.
30.
temporaries, besides that of the group of
XV.
19.
figure of the
As
Harmodius and Aristogeiton, No.
Olympic Zeus appears on a coin of Hadrian, No.
to this I have elsewhere^
remarked that
30.
The
19, struck at Elis.
'we find in it certain distinct depar-
tures from the usual stereotyped design which stands on coins of Alexander and the
Seleucidae for the Olympian deity
(pi.
xv. 31), departures which indicate a decided
With
intention to approach nearer to the Pheidian statue.
threw the figure more correctly into front
of the
body and not behind
attempt at perspective.
He
as
tried
18.
No. 18 of this
we ha.ve we have
Pheidias, XV.
22.
improve the type of the head and
to
represented the drapery falling from the XV.
by making the left arm project in previous artists had done in a clumsy
profile
it,
also
this object the artist
left
shoulder with greater clearness.
In
a similar attempt to portray the head of the Pheidian statue; already spoken in this chapter.
the Athene Parthenos,
we have
also
Of the
some
slig'ht
other great
work
of
numismatic record in
made our knowledge of the form of the statue so complete that coins add nothing to it. Of a head which may be copied from that of the Parthenos, pi. xn. 43, mention will be made in pi.
due
XV, 22.
But here the discovery
of statuettes has
place.
'
Coi7is
of Elis,
p.
50.
CHAPTER
V.
Period of finest art; late.
The
period
B.C.
371
— 335
was that during whicli Praxiteles and
were at work, and their influence
we
be expected that
fast radiating througli Greece.
Scopas
It can scarcely
should in this place attempt to give even an outline of
the changes introduced by those great masters into Greek sculpture, or to detail the chief characteristics of
their
A
style.
of that
dissertation
sort
is
to
be
found in every book which attempts to give the history of Greek art as a whole but it
would be out of place
it
would be the
the
sculptures
numismatic
art.
in a piece of special
more out of place
of Scopas
and
The narrow
is
And
like the present.
character which attaches
to
only found in a modified form
in
because the
Praxiteles
work
limits of that art shut out for
the most part any
and give but moderate scope to the tendency to embody in form a more sensuous beauty. Moreover, though Scopas and Praxiteles no doubt controlled the main stream of Greek art, they did not attempt at the pathetic or the dramatic
control all the
;
There were other schools of art than theirs
subordinate currents.
and breadth of Hellas and as our coins come from all parts, a large proportion of them were affected by the works of local masters of style rather than by Athenian sculptors just as the tidal wave follows rather the nearer but smaller moon than the more distant but larger sun. in the length
;
;
In
fact
the changes which
we
shall find in coins in this period
are
rather
by the general current of ancient art than those which recall the works of any particular school. The human figures will be of slighter j^roportions and more rounded outline, and the attitudes more graceful and less vigorous. Frequently they are seated on rocks and under trees amid natural scenes instead In of in temples and on the formal thrones usual at earlier and later periods. the heads we shall find greater variety, less severity of type, more care and more success in the rendering of details such as hair and eye. And besides,
those produced
As however it is not easy or possible to a great increase of expression. introduce much expression into a head represented in profile the custom prevails there
of face
is
three-quarter-face
representations
of
deities.
It
is
evident
that
into
a
thus represented far more character as well as more pathos can be intro-
19—2
ART AND MYTHOLOGY OF COIN-TYPES.
^48
The custom took its rise apparently in Sicily for some of the coins of the fifth century; Leontini and Camarina with full-face heads must date from time but it soon spread to Hellas and Asia, and is very common during the whole ;
ducecl.
In the present 400 to the age of Philip, when it suddenly disappears. period we also find greater freedom of treatment in the case of some animals,
from
B.C.
notably the horse.
These of course are but generalities; we shall soon come to details. Meanwhile I would direct those who wish at once to fix in their minds some idea of the style of the age,
in particular to
pieces
issued in Peloponnese
result
of
his
by
cities
two
first
is
the fine
with Epaminondas, and as the
alliance
in
The
series of coins.
memorable expedition against Spartan influence
these regions.
in
These coins occupy most of the latter half of the virith plate. The second is the remarkable set of gold staters issued at Lampsacus, probably about the time
when the
issue
of Cyzicene
electrum ceased in the middle of the 4th century.
These will be found represented in our xth plate by Nos. 24, 25, 38, 39, 40. Of both these series I shall speak in the proper place.
Italy.
The coinage
of Italy during the
sharp line from that of the preceding age.
century the Greek
cities
period
later fine
is
Towards the middle of the fourth
day of Roman dominion had not come. issues of beautiful coins, which do not
So they differ
in
times but are of freer and more advanced style. able group
continued their plenteous
type from those of
who
It
j)late v.
represents
is
previous a remark-
Poseidon seated
stands before him with hands
The attitude and dress of Poseidon are those usual in the only he holds the trident in the place of a sceptre. of Zeus The group expresses the confidence of the Tarentines in theh destiny to rule the sea
raised
well
still
No. 28 of
from the gold coinage of Tarentum.
on a throne, looking down on his son Taras,
case
by the warlike yet staved off, and the
of the South began to be hard pressed
inland tribes, but their destruction or subjugation was as
y. 28.
not separated hj any
in
petition. ;
;
Taras at V. 30. 3 1.
is
his
inspires
the darling of Poseidon,
service
alike
who can
refuse hhii no request,
the dolphin by sea and the horse by land.
other coins of Tarentum in our plate.
and who places The same idea
Thus on Nos.
30, 31 Taras riding with easy but firm seat on a dolphin, a figure of complete fulness.
On
Nos.
34
and
cavalier of the Tarentines
35
see
grace-
Taras or Phalanthus or perhaps a more modern
who had won renown
used neither saddle nor stirrup
we
;
sits
on a horse.
The Greeks
and our hero seems to need neither,
so steady
PERIOD OF FINEST ART, LATE— ITALY. and
safe is his
In No. 35 the horse seems to be racing; in No. 34 he
seat.
On No
being crowned by his rider with the wreath of victory.
armed
carrying three
battle,
for
149
and a large round
spears
is
^- 35-
is
v, 3h.
36 the rider
These few
shield.
specimens must serve to represent the Tarentine coins with their inexhaustible variety and constantly changing beauty.
On
No.
29
we have a
reposing
from
Heracles,
In attitude the
Croton.
figure bears rather a close resemblance to the Heracles of the last period, No.
but there are differences which suit the times of the two
2
;
v. 20. v.
2.
Li the later
coins.
representation the figure of Heracles has less of simple massiveness, the muscles of arms
and chest are worked out in greater detail, and the attitude is nearer to lounging. The figure reminds us of the description of the statuette of Heracles made to place on the table of Alexander the Great, where the hero was seated on a rock over which his
one hand a w^ine-cap, in the other a in the present representation,
was spread, was looking up, and held
skin
lion's
we
since
There
club-^.
learn that
and refreshed himself in the house of Croton. The gem-like delicacy of work makes this rary treatments of the subject are
however a
when
local
element
in Italy Heracles rested
figure pleasing
successful;
less
is
in
other contempo-
;
instance that
for
of
vi.
pi.
No. 36, from the Sicilian Thermae, where the figure of Heracles has a weakness
and rotundity which
is
most unsuitable to thq
It
hero.
would seem that
time preceding Lysippus even the form of Heracles, most manly
of
all
vi. 36.
in the
heroes,
danger of undergoing the same softening which took place in the types but in this case the tendency met with a violent of Apollo and Dionysus
was
in
;
reaction, of
which we see the
fruit
the statue of Glycon.
in
On
No.
have a sphited rendering of the contest of Heracles and the Nemean lion. sturdy and less upright than in No. 6, Heracles seems to bend over the but the tension of his muscles group deserves
its
splendidly rendered,
is
wide reputation.
No. 33, from Terina,
who
study of drapery this work
Not
less
and
charming
is
on the
v. 32.
Less lion
;
v.
e.
whole this
the figure of Nike,
stands with raised foot placed on a cippus.
may
we
32
As a
v. 33.
coinpare with the contemporary statuettes from
Tanagra, and indeed with the beautiful figure in a somewhat similar position in the relief from the balustrade of the temple of Nike Apteros.
Nos. 37
to
39
are
Epirus, and therefox-e of
Zeus,
ancestral
forms
of
Zeus
all
known
deity of the
by
wearing
the
from
date.
coins
struck
Italy
They represent the head
Molossian Kings, a
in
wreath
of
who
oak,
is
the
by Alexander of the
distinguished sacred
tree
ofv. 37— 39.
Dodonaean from other of
Dodona.
one of our noblest heads of Zeus, simple and dignified, with faultless features, and hair represented with consummate art and not too great subtlety The close likeness in style between this head and that of Hera, No. of detail. No, 37
is
^
Martial,
ix.
44,
v. 37.
ART AND MYTHOLOGY OF COIN-TYPES.
150
far more nearly resembles seem to indicate a Tarentine origin for it. No. 38 Macedon, which is in its turn closely the head of Zeus on coins of Philip of the frieze of the Parthenon and similar to the heads of bearded citizens on It is the thoroughly typical Greek head which Athenian sepulchral rehefs.
v.45,38. 45,
do not here discern the prophetic look attributed other hand by Overbeck to the Zeus of this set of coins. In No. 39 on the we have something entirely peculiar and distinctive. This head with short sparse in
became stereotyped Y.39.
beard and long mane-like XII. 17.
on
occurring
I
art.
hair, is
for
of Thessaly,
coins
almost unique, the nearest to instance
pi.
xii.
it
Are
17.
among
effigies
peculiarities
its
This is due to the influence of a school of art belonging to northern Greece ? of the Epirote King possible, and although it is probable that the silver coins were struck in Italy, yet this piece may be an exception, or it may be the work of an Epirote artist. But Avhoever is the author, he shews the influence of and the leonine brow and hair sufficiently prove this the school of Lysippus ;
;
m
the coin might perhaps better have been relegated to the next period, to which Distmctly earlier in character is the laurelhistorical strictness it probably belongs. V. 40. V. 16.
v. 41.
V. 42,
4.3.
crowned head of Zeus from Metapontum, No. 40, which is indeed by no means free from archaism, and may fitly be compared with the head of Apollo, No. 16. We have next several heads which face the spectator. On No. 41 is a head of Pallas from Velia, signed on the front of the helmet by the artist Cleodorus. warlike deity
VI. 30.
who was
43
Croton represent the Lacinian Hera, a
from
represented as armed,
who loved
of cows, and
sacrifices
whose temple on the Lacinian Promontory was a centre of religious observance in Bruttium, and whose effigy appears at this period on the coins of many It is noteworthy that this head almost always faces the spectator, cities round. an exception occurring only in Sicily, pi. vi. 39; but whether there is a special
we cannot
reason for this
known
in
supposing
sculpture
that
the
circular Stephanos V. 44.
and
Pandosia
from
42
Nos.
with
griffins
:
We
^.
This type
say.
are
probably
Hera,
Lacinian
of
like
on her head, which
but further than this
it
on
justified
her
not
safe
to
is
apparently un-
numismatic
namesake
may have been is
Hera
head for
at
evidence in
Argos, wore a tall
adorned, as on the coins,
On
go.
No. 44 we have
a head of Pallas from Thuiium, in which the features are very regular details of the V. 17, 18,
far
helmet faultless
below the heads of the
;
yet the work stands
earlier period,
in
originality
Nos. 17, 18.
and the
and beauty
Finally, in No. 45
we
45.
have a head of Hera or style.
About
in evanescent
but the
artist
this
what
of our is
most notable
is
the veil of the goddess, which appears
These matronly goddesses had a special right to the
shape.
design, so that it
is
perhaps of Amphitrite from Tarentum of the richest
coin
did not choose to
sacrifice
hinted at rather than portrayed. '
Overbeck, Kunstmyth. ni. 106,
to
it
veil,
the beauty of his
PERIOD OF FINEST ART, LATE—SICILY.
1^1
Sicily.
The
coinage of Sicily during our period will not long detain us.
It
repre-
is
sented by a few specimens at the bottom of plate vi. Before the year B.C. 371 almost all the great cities of Sicily had either been destroyed or had become
mere dependencies of Syracuse. But like Pharaoh's lean kine Syracuse did not grow by theii^ accession, but pined away the more, so that when Timoleon landed at Syracuse in B.C. 344 he found grass growing in the market-place, and the city
—
extreme poverty.
sufferuig
time of far
The era of Dionysius, B.C. 406 367, was no doubt a greater prosperity, and it is to this period that the most splendid
coins of Syracuse, including the celebrated decadrachms,
are
attributed.
considered, to suit our convenience, that the finest series of S3T:-acusan
and
issued before B.C. 371,
mens, such as 21
—23
so included it in the last period, although
of plate vi.,
son and successor of Dionysius. same, ^vpaKoaioiv,
it
is
may have been But
as
not possible to
was
coins
some
speci-
struck as late as the reign of the
on aU these pieces
the legend
make
have
I
a division of
them
into
two
^i-.^i-
the
is
classes
to suit our periods.
The only
coins
of
which
Syracuse
period are Nos. 35, 37, 40.
On
35
we have a charging
same hero who appears above on No. 5. energy which marked the warrior in the
way
to
weakness.
On
under the weight of his
No.
35
shield,
the
have ventured to place within our
I
But
in the later
earlier
slight
figure of Leucaspis, thevi.
coin the
vigour and
35, 37,
vi. 5.
type have disappeared and given
figure
seems
of Leucaspis
though the engraver has most
to
bend
vi. 35.
carefully finished
was unable to endow with spirit. No. 40 represents the obverse of this coin, a head of Pallas closely resembling that signed by the artist Eucleides, and either the work of that artist or else, which is far more probable, the production of some feeble copyist of his. Although the work is pretty and very minute, it lacks energy and originality. No. 37 belongs to the age of Timoleon it bears a head of Zeus Eleutherius, whose worship the the group which he
vi. 40.
vi. 37.
;
Syracusans adopted in B.C. 466 in
memory
tyranny of Thrasybulus, brother of Gelon.
of their liberation from the despotic It
is
of fine type, in style well suiting
the period between the prevalence of the majestic head of early times and the
more passionate and leonine type introduced
V.
the
middle
of the
fourth
Short hair belongs to heads of Zeus especially about this period,
century. pi.
about
cf. V. 14.
14.
On
No. 36, from the Himeraean Thermae, we have a decidedly feeble figure
of HeracleSj of
which
I
have already spoken.
On
the obverse of this piece, No.
vi. 36.
AET AND MYTHOLOGY OF COIN-TYPES.
152
VI. a9.
vm.
40.
VL33.
V. 39.
a head of Hera wliieh seems to represent the goddess in her character of Argos, pi. viii. 40. Lacinia, though it is ahnost as closely like the head from 39
is
head of the river-god Gelas, with the horns of a bull. The type of this deity follows in its changes the current eflSgies of Zeus. We have noticed this fact at an early period, and now again observe it. Save in treatment of hair our present head recalls that of Zeus on Epirote coins, pi. v.
On
No. 38
39.
There
we
is
a
find
of animal
as elsewhere in the representations of Gelas,
little here,
The Sicihan Greeks not only venerated rivers but seemed to have formed a lofty idea of their divinity, and then- artists are persistent save in the earliest times in attributing to them noble forms of head
nature
and brute
force.
and thoroughly human expression.
Northern Greeck Northern and Central Greece which belong to our period are It is remarkable that few of them represented on the lower half of plate vii.
The
coins of
bear types of
much
human
importance, scarcely any exhibit
types of
or
figures
the gods of mythological interest. Instructive from the point of view
VII. 43.
vn.
22.
of style
the
is
same type, No.
of the
22,
we
and the smallness of
the Mausoleum
A
frieze.
place
t|ie
more modern touch too
recall the figures
VII. 47,
No.
as
minted the
in
47 is
is
and
reverse
tlie
foui-th
No.
as
obscure, but the time
middle of the
VIII. 28, 41.
vn.
46.
The head
of Demeter, No.
most of which,
e.g.
jjL
The
44.
We
;
but
it
28,
when
41,
and
have already
more
piece
was
of the Sacred
War
this
spoken
of the
important as a work of
also
is
coin art.
from the ordinary coin-representations,
47, departs far
viii.
occasion
must have been nearly that
century.
vii.
46,
seem imitated from Syracusan
t
coins,
and
convey to
our
minds
sorrowing and motherly goddess. to trace sorrow
in
nothing
shall
find
in pi.
x.
the face of the goddess
41
another
of
the
distinctive
In the present coin, though
and dignity which are very appropriate. X.41.
Still
feet.
the coin of the Amphictionic League, of which the obverse appears
from the historical point of view VII. 47.
on
the spear which has been
is
hurled at the hero by a foeman and struck the ground at his interesting
between
sculpture
in
head on our present coin
his
with
this
The spare and muscular frame
the days of Polycleitus and those of Lysippus. of Ajax,
43,
what an extraordinary change
see
human frame had taken
in the proportions of the
of Locri, No.
Comparing
which represents the hero Ajax charging at a run. earlier instance
coin
we
see
When we
there
character
we cannot
a mature
of
profess
sweetness
reach the coins of Asia,
head worthy of a place
beside
the
this;
we
but in
PERIOD OF FINEST ART, LATE— NORTHERN GREECE.
We
general Demeter does not appear to advantage on coins. as belonging to her cycle, the coin of Eleusis, Nos.
may
here notice, represents
No. 45
48.
45,
153
vn.45,4R.
Triptolemus in his winged chariot drawn by serpents passing through the lands to distribute the gifts of agiiculture, a favourite subject on vases.
It
Tripto-
is
and not feminine as some have imagined ^ although there do exist exceptional coins of Eleusis in which appears a female figure in this winged car. On No. 48 is the pig of Demeter
lemus, not Demeter, for the figure
clearly masculine
is
;
standing on her
torch,
double allusion to the
in
however to our Amphictionic coin
great
To
mysteries.
on the reverse, No. 44,
vii. 4b.
return
Apollo seated on
vii.
u.
This type seems to belong to a later time than the vn.
2r.
;
the omphalos, the mystic centre of the world
is
which existed
the
in
Delphian
and surrounded by Delphic symbols. He is clad in the chiton, with long sleeves and waist girt-in, which specially belonged to the Citharoedus, and which he wears on what are supposed to be copies of Scopas' statue, the
temple,
One elbow
Apollo Palatinus.
rests
on his lyre as he leans
the
in
meditation, perhaps looking into the future with eyes of prophecy
A
he holds a laurel bough. that Delphi
On
the scene portrayed on the
is
still
more
Apollo-heads from the
beautiful
consider
that
the
same
was
coin
clearly indicates
coin.
city
head on the
figured above, Nos. 12, 13;
probably struck
suppression of the Olynthian League by Philip.
and
this head,
in
we
the style of the hair
of
hand
in one
;
this coin the hair of Apollo falls in long tresses as in the
coin of Olynthus, No. 28.
may
tripod in the background
attitude
shortly
There
pi.
xiii.,
the complete
before
a want of force about
a gradual
see
fashioned ideas which later again prevailed, as in
is
and we
return
to the
old-
No. 25, and generally, xm.
25.
On
No. 29, struck by Philip of Macedon, and No. 33 from Cierium in Thessaly vn. 29,33. we have two heads of Zeus of fine but somewhat conventional type. To judge
by the bearded heads on the frieze of the Parthenon, the Zeus-head on Philip's coius would seem to have something of the style of Pheidias about it. And in this view it is noteworthy that Philip distinctly intended this head to stand for that of the
Zeus of Olympia,
claimed as patron deity.
an
they will not bear pressing.
No.
Heracles
;
much
discussion.
and thick-set to
'
a
also
30,
It has
lion^s
coin,
serve to
from Philip's
usually been
arouse
called
is satisfactory.
coin,
is
a head
when
but
which
either an Apollo
Apollo,
or
a
occurring
and the present head is too round And Heracles on the Macedonian money
both on coins of princes who preceded Philip, as Perdiccas
Stephani, Comptes Rendus, 1859,
p. 87.
Kohler, Mitth.
d,
D. Inst in
Athe^i,
•
an interest
has long hair;
suit the idea of Apollo. skin,
may
affinity to the great masterpiece of Pheidias,
but neither of these attributions
unmistakeably on Philip's
wears the
contrary to the customs of his fathers he
These considerations
in our coin as possibly bearing
has roused
whom
Yol. iv.
20
vn.
30.
ART AND MYTHOLOGY OF COIN-TYPES.
154 vn.
32.
No. 32, and on coins of Alexander the Great, pi. xii. 15. It seems then more probable, as I have tried to prove elsewhere ^ that the present head belongs rather to the Macedonian sun-god Ares. There was a celebrated statue of this III.,
by Alcamenes, and just to the time of Philip must belong the colossal The chief argument for the attristatue of Ares by Scopas in seated attitude. bution is that on the coins of the Sicilian Mamertines a head just like it, also deity
bears the
laureate,
favour of the theory. VII. 31.
of Ares to the head
type
If
be accepted,
it
on No.
this
seems a
we must probably
also give the
from Phalanna in Thessaly, which
31
reason
valid
is
in
name
of similar
but our probability cannot be raised to the rank of a certainty because
:
the rounded head with
curly hair
short
Hermes
various deities, as for instance for
seems to be usual at
the
period for
in the great statue of Praxiteles.
most remarkable remains of ancient art is the coin of Panticapaeum, Nos. 34 and 42. The excavation of Crimean graves has revealed to us the fact that art flourished in that region in the fourth century B.C., and further
One
Yn.34,42.
and
APEG^:,
inscription
full
of the
that the ideas of art were borrowed especially from Athens, between which city
and the northern shore of the Euxine continual intercourse was kept up. Certainly none but a Greek artist of the best school could have engraved the head VII. 31.
of Pan, No.
head expressing
34, a
And
sides of the god's nature. is
his
ears of the
may
convince himself by
celebrated electrum vase
of the
the
In
figures
the
of
addition,
but
same way the monetary
of the
river-god
No. 42,
piece,
is
Borysthenes
The
^.
On
No.
35
wonderful
griffin
;
Scythians on the
of Olbia in Sarmatia give a Scythian cast on their coins
to the features
on the
reverse
of our
and Oriental rather than Greek type, having the place of that of an eagle. Similar representations will
of Persian lion in
from Larissa
is
^,
but rarely elsewhere.
a nymph-head facing,
the Syracusan full-face head of Arethusa by Cimon, to say
whether resemblances of
this sort indicate
pi.
closer
which vi.
nearly
22.
It
resembles difficult
is
connexion than contem-
however that the coin of Larissa is a specimen of a very large class, all bearing full-face heads of Nymphs, and differing one from the other in many small ways. And even in the remote region of Cilicia we have nymph-heads such as pi. x. 46 which are of very similar character. On the other hand the coins of Syracuse certainly had a wide circulation, and poraneity.
X. 46.
studying
Hermitage^.
be found on vases from the Crimea
VI. 22.
artistic
artists
head of a horned VII. 35.
god are an
rough hair and rugged features are clearly derived from a Scythian original
as anyone
VII. 42.
bestial
the rough material whence the type was formed
The pointed
easily discerned.
and the
in fullest degree the terrible
It should be noticed
were widely imitated.
The money
'
A^umism, Chron. 1880,
^
Cat.
p.
52.
Gr. Coins, Thrace, p. 12.
of Carthage in ^
.,*
the fourth
century
BospL Cimvier. pL du Bosph. Cimmer. pi.
is
Antiq, dii
xxxiii.
Antiq.
xlvi.
closely
PERIOD OF FINEST AET, LATE— NORTHERN GREECE.
And we
copied from them.
can
think that heads
scarcely
155
of Persephone or
Demeter such as No. 46 on this plate from Locri or No. 41 on Phenens in Arcadia are entirely unconnected in origin with the
pi.
from
viii.
vii.4fi.
VIII, 41.
large
class
of
perfectly similar heads on the coins of Syracuse.
Both of the pieces just menspecimens of the work of the Syracusan engraver
tioned might almost pass as
But
Euaenetus. non-Sicihan
art,
our full-face
in
indeed there
is
whole superior to the coins of
scheme
general
Cimon, the accepting
On
it
of the
a simplicity about
Sicily.
full-faced
No. 35, there
coin,
We
may
it
which makes
of
on the
it
conclude then that even
the
if
nymph-head be borrowed from the work of
of other parts of Greece copied
artists
a distinctive tone
is
own
in their
it
several
stylefe,
not as a model but only as a suggestion.
No. 36 we have a head of the goddess Hecate from Pherae in Thessaly,
on a coin of the tyrant Alexander.
In front of the head
36.
vn.
37.
grasped
a torch
is
vn.
by a small hand an adjunct more in the taste of Ptoman and Italian than Greek art, and apparently inserted only to shew that the head is of Hecate, the special goddess of Pherae. On 37 is a head of Artemis facing from Orthagoria On Nos. 38 and 39 are two or Stageira of the time of Philip of Macedon. ;
types of Philip of Macedon, a biga and a keles or
agonistic
allusion
is
to
victories
at
gain a firm hold on the ruling bodies of Olympia,
the great games. 30, 38,
that
of
It
is
known
well
Delphi and other seats of
that from the gold staters
of Philip, Nos,
were derived the types of the coins used by Gauls and Britons
We
turies.
In
horse.
Olympia gained by Phihp, who specially the worship of the Olympian Zeus, and spared no pains or money to
both the affected
single
vii. 38,
may
Philip,
horse on No. 39.
fairly
be surprised to
anything
at
so
good a period
monstrously exaggerated as
so
Not only
find,
is
for cen-
for
art
as
the figure of the
he ridiculously large in comparison to his jockey,
is
vii. so,
but of such heavy proportions that he certainly could never have
won any
vii. 39.
race.
The whole group must be regarded as a clumsy attempt to flatter the pride of Philip the coin was struck at Pella by giving unnatural proportions to his horse. Earlier on Macedonian coins, as Nos. 4, 5, the rider is large in proportion to the horse, in accordance with the well-known rule of Greek art to give greater and it may be that a perverse interpretation of size to the more dignified object
—
—
vii.
4, 5.
;
the same rule horse,
An saly,
made the engraver
of the later coin increase the size of the royal
and diminish that of the jockey, who would receive small share of the
infinitely better
the work of a
praise.
engraved horse comes next on No. 40 from Larissa in Thes-
man who
loved horses for their
own
sakes.
On
No. 41
is
a vn.
conventional or architectonic lion's head from the coinage of Alexander of Pherae.
20—2
"^'^i-
^o. 41.
AKT AND MYTHOLOGY OF COIN-TYPES.
156
Peloponnesus.
Peloturn next to the last two rows of pL Viil., where will be found ponnesian coins of the middle of the fourth century. And first we may state the fact— a fact, however it may be explained— that in Peloponnese and Crete
We
find at this period the greater attenuation of the
we do not we can so
human
figure
which
the contemporary coins of Sicily and Italy, as well The forms in the Peloponnesian as at Locri in northern Hellas, pi. vii. 22, 43. class are singularly robust, with a few exceptions, such as No. 36, and are nearer in
clearly trace
to the canon of Polycleitus than that of
Euphranor or Lysippus.
History enables us to date with some closeness this class of coins. In the year B.C. 370 Epaminondas made his celebrated invasion of Peloponnese, which was no hasty incursion, but a political move of the greatest importance, and
taken with
The
full deliberation.
object of
Epaminondas was to
very borders of the Laconian territory neighbours
and
who should be
raise
up on the
hostile to Sparta,
her from again venturing to exercise authority in northern Greece.
restrain
His two chief movements to this end were the re-establishment of the Messenians at Ithome, and the formation of an Arcadian federation with Megalopolis as chief
The Arcadian league however soon broke up in consequence of internal dissensions. It has for some time been the general opinion of numismatists that we may attribute to the time which followed the invasion of Epaminondas the series of fine didrachms which at about this period make their appearance in Peloponnese. In the case of the coin of Messene, Nos. 25, 28, and that of
city.
Arcadia, Nos. 32, 37,
we can be
the political bodies which sti^uck them did not exist
time,
for
hand
to place
them much
later
26, 27, probably belongs to
the 104th Olympiad. as
sure that they could not be issued at an earlier
Stymphalus, Nos.
The
on the other
coin of Elis^, Nos.
the tuTie of the Arcadian attack upon
In the 34,
out of the question.
is
;
however, of the coins of Arcadian
case,
38,
44,
and Pheneus, Nos.
31, 41, it
Olympia cities
of
fixed
its
league,
but the similarity of their style to that of the pieces
;
shews that our temporal assignment cannot be far wrong. All though not wanting in freedom, yet preserve something of the state-
date
these coins, liness
existence
such
may be doubted
whether they were minted just before the foundation of the Arcadian or during
in
which belongs properly to the period
were a conservative race
;
and their
'
Num.
of early fine
art did not
move
Chron. 1879,
247.
p.
The Arcadians nor was its decay
art.
rapidly
;
PERIOD OF FINEST ART, LATE—PELOPONNESUS. hastened as in northern Greece by the growing
157
and the
political disorganization,
despots like Alexander of Pherae and Philip of Macedon.
rise of
On
No. 31 we have a group quite characteristic of the age of Praxiteles, coin is from Pheneus, and the type Hermes carrying an infant who is
The
by an
identified
Arcadian
race.
the death of Callisto, mother of Areas, Hermes, by
carried the child to
of Zeus,
Hermes
behind him as Areas, the mythical ancestor of the
inscription
On
Maia
his
own mother
On
to bring up.
actively engaged in our representation.
is
viii. 31.
The
command
this mission
child seems to see some-
thing which attracts him on the head or petasus of Hermes, and stretches his
hand to grasp it a motive which at once reminds us of Praxiteles' great group of Hermes and the child Dionysus. At the point of motive however the likeness between the two groups stops the design we are discussing being fitted only for relief and not for sculpture in the round. On No. 32 we have young Pan the hunter seated on a mountain, holding in his hand the knotted lagobolon. The letters GAY below were formerly supposed to stand for Olympus and to shew that the scene was laid on that great Arcadian mountain, but the occur;
;
^
rence
of other
artist's name-^,
viii. 32.
'
specimens with another legend, leads us to doubt this interpre-
Perhaps we
tation.
.
and
may if so
venture with more probability to see in the letters an it
is
not at
all
impossible that the engraver
may have
been Olympus of Sicyon, a sculptor of this period, who is however known to us by little more than his name. We may presume however that he was a of
disciple
in
Polycleitus,
and we know that he made statues of
both these respects resembled the engraver of our figure of Pan, which a wonderful study of the
its size
On
human is
is
for
frame.
No. 33 we have a seated Apollo from Zacynthus.
throned, and so no temple-statue, but
and
athletes^,
seated on a
hill,
The god is not en- vm. and lays his hand on
the head of a snake, just as Asclepius does at Epidaurus pi. xii. 21. This is an interesting local rendering of Apollo, rather than a young Asclepius, for there is
33.
xii. 21.
nothing in the type to indicate the deity of medicine. Figures seated on rocks We may compare especially belong to this period though they do occur in others. pi.
V.
29 and
vi.
36, as well as
No. 36 of our present
plate,
which
two
ojBFers
us a
_^- 29-
coins from
"^in- 3^-
Pheneus, of which the reverses figure in Nos. 31 and 36 are nearly contemporary, as is shewn by the similarity of style of their obverse types, two heads of
'^i^/- ^^^
figure of
It should be observed that the
Hermes from Pheneus.
Persephone,
of which one
is
reproduced under
widely in their methods of representing the
No.
human
41.
frame.
Yet they
On
very
viii. 41.
No. 34 we have
viii. 34.
difier
It would appear a picture of one of the battles of Heracles, from Stymphalus. that the invisible enemy of the hero is the Stymphalian birds, for the types of '
Brunn,
'
Pausao.
11.
p. 437.
VI.
3. 5.
Cf.
Brunn,
i.
292.
158
viiL
44.
AKT AND MYTHOLOGY OF COIN-TYPES.
:
Stymplmlus naturally
and
set VIII. 38.
up
emerging from amid
coin,
notorious too that figures of the Stymphalian birds were
on No.
effigy
can
action
is
we have
for instance,
temple of Artemis^ the guardian deity of the place, of
in the
have a noble his
It
plants.
No. 44,
Stymphalian
the head of one of these birds from a leaves
On
exploit.
this
to
refer
If however
38.
be termed
scarcely
Heracles
them and not the
natural weapons wherewith to attack
attacking these birds
bow and arrows being the
a
well-chosen,
is
whom we
Elsewhere,
club.
as
on
the coins of Lamia in Thessaly, Heracles does during this action use his bow,
and
so
usually
we must VIII. 35.
the design
allow that
pancratiast of the
school
and activity are happily
joined.
aged
But
on other classes of monuments. is
of
very
Heracles
fine.
On
No.
35,
XI. 22.
times,
cf.
XV.
Greek
cities,
17.'
13.
figure
pi.
simulacrum. XV.
demanded, and which
expedition
The
mede.
22;
xi.
the goddess
of
xii.
in his frame strength
;
from Argos, we have the scene of
The
hero's
But the
of colossal size,
Among
attitude well
is
merely the
conventional
various traditions
as
of early
Pallas
many
the history of the Trojan
to
and which bears
statue which existed in historical Ilium,
pi.
XV.
This
13.
the statue naively described by Apollodorus^ as the real
is
fell
from heaven.
the heads of the period one of the most important
from Arcadia, No.
of Dio-
so well suited the character
36; xv. 17; a kind of statue which existed in
giving rise to
Palladium of Ilium which
VIII. 37.
not the burly middle-
every mark of great antiquity, was of quite another form, cf last,
objection
this
mixture of caution in movement and readiness to meet the foe
expresses the his
is
Lysippus, but young
the carrying off of the Trojan Palladium by Diomede.
which
we waive
if
is
that of Zeus
would be most desirable, if it were possible, closely to fix the date of this head for this is the first appearance on coins of the type of Zeus which afterwards became prevalent and almost universal, the type with flowing hair streaming backwards, leonine brow, and an expression of command mixed with vigour. Unfortunately, our determination of date can only 37.
It
;
be approximate.
vni.32.
xn^ii.
The
coin cannot have
ment
of the Arcadian league,
370
and
;
it
must
in
all
probability precede the
The reverse side of it. No. century. More closely than
earlier
than the
establish-
when Epaminondas invaded Peloponnese
32,
is
of
the
style
reign
of
of Alexander
the
middle
in
B. c.
the Great.
of the
fourth
this we cannot fix the date of our coin, but it seems probable that the influence predominant with its engraver was that of the school of Lysippus. All Zeus-heads on later coins, at least in Greece proper, adhere closely to this type, cf. pi. xii. 14, 25.
The female heads though with VIII. 38.
been issued
period are
still
'
very fine
beauty than those of the last and of most careful finish. On No. 38 is the head of
Pausan. vni. 22.
7.
less of severe
^
m.
12.
3.
PERIOD OF FINEST ART, LATE— PELOPONNESUS.
159
the Arcadian Artemis from Stjmphalus, an early instance of the style of hair-
which
dressing in
later
became usual
that goddess,
for
the present case the head of Artemis has
maiden freedom from
not
that
which we suppose to be
care
xiii.
pi.
Two heads
No.
14,
Ehs and Argos
of Hera, from
and
we
in each case
period, a shorter
A
ornaments.
that
Stym-
at
respectively occur
The former may be compared with No.
39 and 40.
of Artemis,
characteristic fact
^J]^29^'
that
was Limnatis, a goddess of lake and stream rather than a
Artemis
huntress.
But
29.
24,
lightness^
girlish
For this there may be reasons, among others perhaps the phalus
13,
and
great
infallible indication
shall
above; the latter with
same change
the
see
15,
Nos.
as
in
the
of later
coin
Viii.
3'j,
vm.
15,
majestic profile, more care and elaboration in hair and
less
elaboration
of a period
of
may
the earring, I
than
later
the
remark,
an
almost
But these
century.
fifth
is
later
heads of Hera approach no nearer to the recognized ideal of the goddess than the earlier ones, and in spite of their beauty of detail do not satisfy us with
Of the head
meaning.
of Demeter, No.
41,
I
have lately spoken in connexion
with the very similar head on the coin of Locri,
Pheneus was
called Eleusinia
and
closely connected
find small trace of this connexion in the
The Demeter
46.
vii.
pi.
"vni, 41.
of vn.
46.
with the mysteries, but we
head before
The two heads
us.
of the
Mr
Corinthian goddess on Nos. 42, 43 have something of the beauty which, as
vni.
42,
43.
Buskin has well remarked, at
all
the distinguishing quality of the Corinthian coin
is
periods.
But the
coins
and
in
collector could
many
figured
The adjuncts
adjunct in each case. various,
here
are
cases
more
particularly
for
the
or symbols on Corinthian
sake
money
are
very
A
young
than search out the varieties of these
coins,
works of the greatest interest and beauty.
scarcely do better
the
of
which are of small money value, and have never been thoroughly investigated. On No. 42, in the field, is an archaic statue of Zeus, nearly resembling the Zeus of Ithome, No. 25, omitting his eagle, and the Zeus on the late coins of This figure, in spite of its small size, presents us clearly with the Athens. characteristics
Alexander's,
is
of
early
art
one of the
be found in numismatics.
;
and
fii^st
On
if
vni.
42.
vni.
25.
a beautiful figure of Hermes seated on vm.
43.
the coin be really of
instances of the deliberate
No. 43
is
an older date than copy of a statue
to
a bucranium and nursing his knee, a design which looks like a copy of a statue
and somewhat free for our period. The head of the Stymphalian bird on No. 44 emerges from the water-plants vm. This bird, as usually on or sedge amid which he is supposed to be hiding. sarcophagi and gems is little better than a goose, and has nothing at all terrible he is in fact, as Pausanias remarks, in most respects like an ibis, about him or picture
;
;
'but with beak stronger and not curved like that of an ' ^
Pausan. vm. 22.
5.
.
ibis^.'
44.
ART AND MYTHOLOGY OF COIN-TYPES.
150
Ceete.
new
Plate IX. contains, I think, some matter which will be
Nos.
students.
1
— 25
are all from Crete, Nos. 26
have not ventured so minutely to
I
one
this case are two,
that
431
B.C.
— 300.
historical,
the accession of Alexander
landmark as
it
not in Crete so important
is
which
is
We
more important,
still
under
is
limits
historical reason
a
as
in
this,
is
historical
have no reason to think that this
:
And
dominion.
the issues of Cretan coins at once felt the influence of his artistic reason,
wider
giving
for
The
artistic.
Asia or even Hellas.
in
is
of Crete
coins
Those on our plate are assigned
The reasons
and one
from C3T:ene. the
subdivide
periods as the coins of other parts of Hellas.
roughly to the period
— 36
to archaeological
—that
the
there are in Cretan
and exceptional elements, partly barbarous, and partly only local, which prevent us from assigning to specimens with much confidence a date In fact but for the very fortunate adoption by some within narrow limits.
coins curious
Cretan
the custom of using as blanks for their coins the issues of other
cities of
districts
we should
But relying on if
this
somewhat at a
often be
and other evidence we may go
mount
any, of the coins on our plate
that the large majority of
them
so
as
far
are contemporary with
The heads Nos. 21
— 23
say that few,
to
than
to a higher date
which we connect with the time of Epaminondas, that middle of the fourth century.
a date to the issues.
loss to assign
B.C.
400;
and
the Peloponnesian coins
belong about to the
is,
may be
rather later and
date from the latter part of that century.
There
undoubtedly
is
with, full-length figures
types are 15
— 20
of deities
sometimes very singular
we have
the island.
much which
Mr
force
Poole
is
surprises, ^
by
its
love
and vegetable subjects and regard to the coins
Num.
as
And
and on which
Talos,
of
Gort3ma,
Chron, 1864,
p.
240.
class
of
representations
Velchanus and Ptolioecus
even in the style of execution
critics
of nature.
delights
a
peculiar.
is
of the personages on our plate are quite
have variously commented.
the art of the coins of Crete
relieved
'
Some
Hellenic mythology, such
appear with unusual attributes.
to
To begin are commoner here than elsewhere, and the and unexpected. For instance in our Nos.
a series of deities seated in trees,
almost peculiar to foreign to
Cretan coins much that
in the
in
It
is
essentially realistic.
excels
perspective
in
the
and
;
there
is
According
'Its
portrayal
others
want
of
of animal
foreshortening.*
With
Helbig^ remarks that the introduction of the
=*
Campanische Wandvialerei,
p.
286.
PERIOD OF FINEST ART, LATE— CRETE. them
tree into
the
period
is
after
an instance of the feeling Alexander's
Museum
specimen in the British
Otto Jahn
reverse.
death
nature which specially marked
for
them decidedly
placing
;
restruck on
is
has devoted to them part of an able paper,
^
substratum of barbarism
and
too
but
;
this
which he
in
nature-worship.
local
Cretan
in
made
and
penetrated
is
No.
We
trident.
called
1,
by a
interesting
and by a naive reproduction of nature
originality of design,
of Minos
from Itanus, we have a figure with
may doubt by what name
fish's
and
^
so
might well be represented on
represented in early
art,
sea-god of the
the
direct
generally
is
made
;
it
Triton
coins.
pleasing and
deity
human
is ;
not
is
thus
a
of
Phoenician
The retenamong Greeks
usual
^.
;
but even here there of Dagon.
On
is
No.
a ^
naked to the waist, holding dolphin and trident, from Overbeck^ remarks that the god here assumes the attitude of Zeus; Priansus. and that this is true we may see on comparing the figures of Zeus, below No. The same 33, pi. X. 9, &c., though the position of the left hand is different. attitude belongs however to Dionysus, pL xiii. 2, and other deities: we cannot represented
in
statues.
The
sam.e
deity,
he did on the early coin of Potidaea,
have a seated figure of Dionysus, a
fine
the character of the god,
as
present figure
at
least
3.
On
No.
4
?>?,.
X xiii.
>.
from Sybritia we
ix.
in.
n.
::.
but by no means expressive of embodied in later art. For with the type,
we need but make a change
of attributes,
substitute
an eagle
wine-cup and a sceptre for the thyrsus to have an appropriate represen-
tation of Zeus,
cf.
No. 31 below.
As we have already observed the some parts of the Asiatic coast No. 30, who was probably in
^
"
G.
in.
pi.
ix.
on
No. 3 from Rhaucus, appears as Hippius, leading not riding his sacred horse, as
X.,
ix. 2.
Poseidon,
be sure that Poseidon was thus
in
i.
we should have expected the
great improvement on genuine Phoenician representations
for the
ix,
.-
however more than
is
representative
form of Poseidon rather than such a monster as this
we have a
with a
•
the son
called
worshipped in early times at Itanus
class,
barbarous form of an oriental
tion of the
such form
Dagon
is
who was
Cretan
as on the reliefs from Assus
probable that the deity of Itanus
striking
tail,
rest
the engraver of this coin would haA^e
Possibly Triton, or more probably Glaucus,
it.
a
coins
which sometimes even puts the Cretan artists in advance of those of the of Greece in matters of grouping and perspective.
On
a
for
late,
a coin of Cnossus with incuse
shews how much they are affected by a somewhat crude We might venture to affirm that there is almost always certain boldness
IGl
In this we figures of ;
i.
p.
17.
perhaps see oriental influence,
origin
a
ix. yi.
Zeus and Dionysus were assimilated
thus the deity of Tarsus figured under
Vienna Acad. Phil. Hist. Clas. Vol. xix. See Hoeck, Kreta
may
Phoenician
Baal,
might be termed
"
Athenaeus xn.
*
Arch,
d,
pi,
24.
Kunsi. ni. 295.
21
x. 30.
ART AND MYTHOLOGY OF COIN-TYPES.
162
apply to him the name Zeus. it
not unusual
is
though
writers
Crete to find one deity in the pose elsewhere reserved for
we
In Crete
art.
holds,
need not however press this explanation, as
one deity to another
is
mere
unusually
not
find
and
untrained
the
and of Peloponnesus, and from
Sicily
IX. 5.
We
This no doubt arises from
another.
Cretan
m
and corn which he
grapes
Dionysus in virtue of the
this
not far removed.
character of
imitative copies
slavish
of coins
of
the transfer of pose and type from It
however not impossible that
is
if
we had a copy of the seated Dionysus Lenaeus erected by Alcamenes at Athens we should find it to be not entu^ely unlike the figure on our coin^. On No. 5 from Priansus we have a female deity seated under a palm-tree and laying her hand on the head of a serpent. temple of Asclepius Hygieia
figure
There was at
we may perhaps
\
daughter of
the
therefore
god
the
of
Leben
near
feel
justified
healing,
who
Priansus
a great
calling
in
this
seems to be
here
somewhat akin to the great nature-goddesses of Asia Minor. If so this figure and the head of Hygieia on coins of Metapontum^ are among the earliest of the goddess
representations
But another
extant.
seems at least equally plausible.
explanation
the type
of
Zagreus the Cretan chthonic form of Dionysus
was variously represented as the husband of Persephone or as her son by Zeus,
who appeared SeHnus
m
to
Sicily^
the earth-goddess in the form
we have
last-mentioned form. of Cretan
which
coins
to
approaches
a type which
Certainly see
in
an
her
it
probably
would be
the seated
of
On
a serpent. refei*s
to
a coin of
the legend in
its
no way contrary to the analogy
in
goddess
embodiment
of
Persephone,
Zeus.
and
And though
the
in
the
snake
figures
of
Dionysus on Cretan coins are not usually chthonic, yet we know that the myth of Zagreus was at home in the island. There is in the British Museum a marble
which may well be compared with the present type. It represents a veiled deity, wearing a ^o?ii5 on her head, seated on a four-legged stool in one hand she holds a leaf shaped fan, in the other a patera from which a snake feeds. relief^
;
The work
rude but apparently not
is
Marhles the figure
is
identified
as
'
late.
Hygeia,'
In the description in the
but
it
may
Museum
here also be doubted
whether we have not one of those votive reliefs to the nether deities of which so many have been found in various parts of Greece; and whether the goddess be not really Persephone. IX.
On
G.
type, date, '
No. 6
but of a very different a youth seated on a galloping panther. This figure is certainly of a later perhaps nearly a century later, and belongs to the cycle of later Greek
Indeed
the
by Alcamenes, '
*
we have another Dionysus from
Br. Mus.
Museum
is
small figure
on Athenian
closely like that
coins,
on these Cretan
Cat. Italy, p. 245.
Marhles, Part
9,
PI. xxxviii.
Sybritia,
supposed by Beule to be a copy of the statue
coins. a
p.
174.
^^^^ ^.^.^^^ ^
^^2.
PERIOD OF FINEST ART, LATE—CRETE. when the worship
mythology,
fourth century,
and
especially
Dionysus
of
changed
163
during the
character
its
Alexander's time under the revival of Asiatic
in
mfluence and became more enthusiastic and uncontrolled. From the deity of the hidden mysteries of nature Dionysus became by degrees the patron of violent excesses
We
and sensuous excitement.
have the same
contrast
period
of
in
the case of the reverses of these two coins, our No. 14 beine^ the other side of No. 4 and 13 of 6. It will be noticed that on the earlier coin the ethnic
ix. 14,4,
ends in ON, in the later in QN. Hermes appears on both. On the earlier coin he stands upright, a slight, hard, somewhat archaic figure, holding a patera.
On
the later he props his foot on a rock that he
may
sandal.
his
tie
He
has
placed his caduceus on the rock, his clothing consists only of a chlamys thrown
back from his shoulders.
good
artist in spite of its
On he
Nos. 7 and
8,
This
a fine and vigorous sketch,
is
want of
and worthy of a
finish.
from Phaestus, we have
fine
studies of Heracles.
who
In one
ix.
7, 3.
by a crab according to the legend. His lion's skin is borne backwards from his arm as he rushes forwards. There is plenty of force in this group, and though the case
is
quelling with his club the Lernaean hydra
assisted
is
execution be less admirable than that displayed in the Stymphalian coin,
No. 34, there is
more meaning and
is
here certainly not beating the
tude
rather
easy than
dignified,
of
is
quite a landscape, and
any contemporary
sculptor,
viii.
intelligence in the present design, for Heracles
On
air.
No.
8
the hero
evidently worn out
quiver are hung on a tree in front
group
pi.
and at
;
his
back
with is
we can scarcely imagine rather we should fancy
resting,
is
toil.
in
an
atti-
viii. 34.
ix. 8.
His bow and
it
to
The resemble the work
in
it
a likeness to the
a huge wine-cup.
paintings of Pausias or some other painter fond of novel experiments and of fore-
refer
For a thoroughly Hellenic treatment of the same subject we may back to the coin of Croton, pi. V. 29. On No. 9, also from Phaestus, we
may
recognize,
shortening.
by help of the
phaestus for Minos,
who threw
...
inscription, Talos
the bronze
stones at the Argonauts as they approached the
Cretan shore and was slain by a stratagem of Medea. winged, a character which does not at
and
is
all
He
is
here represented as
agree with his function in the legend,
depicted in the act of hurling stones, as
the Minotaur.
man made by He-
is
often the other Cretan monster,
seems clear that we have here to do with a thoroughly nonThe wings of Talos may arise from his connexion with Daedalus,
It
Hellenic legend.
whose nephew he is in one account said to have been. Apart from them we may explain the type as derived from the tradition existing at Phaestus of one of those bronze images of Moloch which were used in the human sacrifices of the people of Canaan.
images and a the
human
fire
The victims
to
be offered were fastened to one of these
lighted around out of which the image escaped uninjured while
beings perished.
To some such
sacrifices
we have
clear
allusion
21—2
m
v. 29. IX. 9.
ART AND MYTHOLOGY OF COIN-TYPES.
164.
and leapt with them into the IX. 10.
III. 40.
On
strangers in his
arms
we
bow in nearly the modern fashion, only that the shortness of the bow compels him to press The Cretans were celebrated it ao'ainst his knee rather than ao'ainst his foot. archers and knew better than to use, in stringing a bow, the clumsy method 10 from Cydonia
No.
represented on the
seem
Theban coin
a young hero stringing a
see
in.
pi.
inferior
is
because
hand
a stone,
the
in
other
on other specimens he
is
object.
On man
No.
;
of remarkably clean
the proportions of the body
Decidedly
it.
He
who
of Apollo.
this
figure
is
holds in
we know
Apollo
seated on the omphalos, but the stone in his it
is
from Aptera we
11
of Delphi,
a temple
there
That
bow.
a
Perhaps
requires explanation.
or Pteras^, a liuilt
small size
its
is
the figure of Apollo from a coin of Eleuthernae, No. 12.
still
other
This design
46.
approach the Lysippean canon without quite reaching
to
one hand
jx. 11.
seized
fire^.
and neat work, especially in view of
IX. 12.
that he
namely,
one of the stories told of Talos,
is
said to
not a stone but an apple or some
have again
a
local
hero,
Apteras
have founded the city and to have
Leake suggests that
in
our representation he
The inscription terms him IIroX.tot/co9, a word which does not occur elsewhere, but which seems to be equivalent to 7roA.ew9 olklo-tiJs. He is armed as an ordinary Greek hoplite the Cretan die-cutter, with characteristic realism, does not in any way raise him to the is
plucking
a
branch
from the
sacred
bay-tree.
;
divine level or idealize him.
We the
next reach a remarkable series of coins representing deities seated in midst of trees. We should, I think, be wTong if we saw in these repre-
sentations only instances of naturalism
and love of the picturesque in the Greeks of Crete. We must find a more satisfactory reason than this for so abnormal a method of representing gods and goddesses, and in order to this end must study them in some detail. We wdll begin w^ith the representations of Europa from
1X^18- the city of Gortyna, Nos.
row
their types from the
18—20.
A
number of the coins of Gortyna borFrom their variety we can conclude with
large
Europa myth.
certainty as to the nature of the particular local story they embody. to this Europa was carried from beyond seas by Zeus in the form
According of a bull,
and brought to Gortyna. There under the shade of a tree the animal left her, and the god who had assumed that form after a while reappeared in the form of an eagle. The tree is an important element; Pliny writes ^ 'Est Gortynae in insula Greta
juxta fontem platanus una insignis utriusque linguae monimentis, 'numquam folia dimittens, statimque ei Graeciae fabulositas superfuit Jovem sub 'ea cum Europa concubuisse.' All the stages of this legend are chronicled on '
'
'
Taus. X.
5.
Of.
Lloyd in ^"um; Chron. 1848,
Leake, Ntu}K Hellen.
;
Insulae,
p.
p. .3.
122. '
N.
II.
xTi.
IL
PERIOD OF FINEST ART, LATE— CRETE.
165
some of them on those we have selected. On pi. iir. 17 we see Europa on the back of the galloping bull, on pi. ix. 20 she sits deserted and sad in the plane-tree, while the bull, on No. 24, departs. On 19 the eagle makes
coins,
iii. 17.
ix. 20.
ix. 24,
we may judge from his small size-^ on No. 18 he has won the favour of Europa who fondles him with her hand. But in Europa herself on the coin last cited we see a change. She is no longer a mere nymph but a deity who resembles Hera in attributes. On her head is
his
appearance, perhaps far off
if
ix. i^-
:
hand a sceptre surmounted by a cuckoo. The last representation explains much, for it shews us that at Gortyna Europa was put in the place of Hera as consort of Zeus and regarded as a great deity of natm^e. So we must also consider the tree not as a mere background or piece of local colouring, but as having a religious meaning. For the earth-goddesses had mostly their original seat in a sacred tree, a tree like the olive of Athena at Athens, the bay of Apollo at Delphi, and the oak of Zeus at Dodona. To find an earth-goddess actually in her tree we need but turn to the coin of Myra pi. XV. 6 where the goddess of the city not only possesses her tree, but protects against spoilers. Sacred trees were well known all over Greece^ and the it In sacred trees were placed in early plat anus of Gortyna was one of the class. Probably this platanus was an older times the archaic statues of the deities. object of veneration in the district than Europa herself, and indeed Pliny seems the
to
polits,
in her
hold this view.
Thus
it
is
likely
Nos.
15,
we have two
16
to say, they are obverse
bay
who becomes
deity
its
coin of Phaestus, No.
but
for
peculiar
the
is
legend
patron.
A
which
in
a tree.
Strange
The
lyre.
tree
is
more remarkable
still
shews that the figure is
occurs
figure
at a loss as to attribution,
intended for
is
in
this
island.
FeA.;)(ai^o?,
a
This god
is
with a cock, the bird of day, on his knee, a figure at
time of spring.
had a
fill
the land with
life
and growth
In fact Velchanus, Apollo, and Europa in Crete seem
local character,
and to have been *
^
he was regarded as a god of vegetation,
seems to indicate that
a power to stimulate germination and
Perhaps
Bottiger's Baitmcultus, passim.
tliis
i^- ^''^^^
.
on the
;
tree
.
his favourite
That once in physique, countenance and attitude almost exactly like an Apollo. in this form Zeus is regarded as a sun-god is shewn by the presence of the cock
and the
o,
instance of a sacred tree and an imported
form of Zeus, youthful, as Zeus often
seated also in a tree
quite
In one case the god holds
single coin^.
Here we should be quite
17.
^v.
Europa herself
of Apollo seated
about to touch the
we have another
here no doubt
;
figures
and reverse of a
a wreath, in the other he
may be
that in our coins the tree
as essential a part of the type as either the eagle or
On
1'.i
bird
alike connected with the
may be
life
in the
all to
and energy
the cuckoo. ^
have
In the Hunter cabinet, Glasgow.
ix. 17.
AKT AND MYTHOLOGY OF COIN-TYPES.
166
IX.
the tree
of wLicli
of nature,
may not be without style, we may observe
introduced above, on Nos. 5 and 11,
5, 11.
To return coins
point
the
to
of
ai^e
is
On
find it hard to say.
a large cluster of berries;
IX. 17.
of Gyrene,
cf.
No.
settled form, but
What
on No. 18 a growth closely
below;
29,
may be we
the other trees
on No.
of
we seem
on No.
grove
quite a
see
to
no attempt
17
made
is
of trees
in
we
depict
to
the
like
any
backgi'ound.
the palm-tree
more
sur-
a head of Zeus from Polyrhenium of unusual type, which
may
and the silphium from Gyrene, No. 29;
5,
should
like that of the silphium
Arboreal forms in Greek art are usually quite conventional, 5, 29.
out
No. 20 we see serrated leaves as of oak; on No. 19
IX. 18.
IX.
leaving
that,
by representing only a stump and two
dealt with simply,
twigs which form a sort of wreath. 19.
a similar significance.
11,
bay-tree of Apollo
'JO,
in fact the trees
where a most remarkable naturalism prevails, the trees on our The represented with a singular mixture of convention and truth.
account No.
IX.
And
the appropriate symbol.
is
are
therefore
prised at this curious outbreak of naturalism.
On
IX. 21. V. 39.
IX. 22.
No. 21
is
however be compared with
On
22
is
somewhat gloomy appearance, the young Dionysus, crowned with ivy, from
a very beautiful head of
has a
It
39.
v.
pi.
This head bears perhaps as clearly as any on coins the impress of the
Gydonia.
There
school of Praxiteles.
something about
is
it
which cannot
most pleasing expression, yet we miss the majesty of the IX. 23.
notice a certain
want of
Argive Hera from a coin of Gnossus.
\?*40^'
On
and energy.
force
fail
earlier
to charm, a
Dionysus and
No. 23 we have an efiigy of the
by no means, however, a slavish ^^Py ^^ *^^^ i^esid of Hera on coins of Argos and Elis, pi. viii. 14, 15, 40, but has origmality. The hair is veiy ably treated; and the features seem to shew a certain pathos the goddess is here not so far removed from relationship to This
is
;
human women
she
The
bull from Gortyna,
period, the middle
No.
24,
is
I
think
of Greek painting. painted,
'
It
adversum eum
dealt
in
it
pinxit,
perspective
far
drawing of the bull on our especially
in
we
once
a numismatic
see
relief.
The
;
it
is
how-
we had more remains the black buU which Pausias
of
at
it
\'
No
if
doubt the painters of that
more than the sculptors;
we
the
In the sculpture of the
could scarcely match
non traversum
coin,
trace
Praxiteles.
would no longer appear unique
reminds us at
we may
one of the most remarkably foreshortened
of the fourth century,
ever highly probable that
relief,
here too
which have come down to us from antiquity.
figures
time
And
elsewhere.
is
charm which follows the influence of
peculiar IX. 24.
as
once that
Gretan
and good as it
is
artists
is
the
exceptional in a certainly
worked
with a certain want of fitness and disregard for the material conditions of their art; but for that very reason they give us the more valuable information as to *
Pliny, F.
II.
xxxv. 126.
PERIOD OF FINEST ART, LATE— CRETE. the contemporary state of art interesting.
It
On
^.
167
No. 25 we have a subject
mythologically
ix. 25.
from Cydonia, and represents Miletus, the destined founder of
is
the greatest of Ionian
cities,
seem a female hound,
for the
by a
as being suckled
or rather
she-wolf,
it
would
forms are too slight for those of a wolf
Gyrene.
The art of Cyrene stood almost as much apait from the general current of Greek art as did that of Crete. There was no doubt constant intercourse between Cyrene and Greece, and at Olympia
citizens of
Cyrene were frequently
games but still the people of Cyrene stood in many ways apart. Their main staple of export was the silphium plant, of which they had a practical monopoly their chief deity was the Libyan Ammon whom they adopted from their first settlement and identified with the chief god of the successful in the
;
;
Almost
Hellenic Pantheon.
one of three subjects
and
36
the culture of the silphium, the worship of Zeus
coins of
Cyrene at the bottom of
which are of gold subsequent
which period a change from a well as in style
;
two
ix. fall into
pi.
many
On
to,
silver to a gold coinage
Nos.
26
pieces
— 28
may
we have
distinguished
by the horns
of a
three
we
heads of Zeus
possess,
and there
is
than the time I have
very
ram which
heads of Zeus
remarkable .
rise
28
diadem or wreath of
Ammon
ix. 2(>28.
.
from his temples, but is
one of the noblest
ix. 28.
but slight trace in the other specimens of
that barbarism which Overbeck^ notes as a characteristic of Cyrenaic coins.
same writer however must be right
at
took place at Cyrene as
in fact be earlier
In fact No.
otherwise resembling the Hellenic Zeus.
and Nos. 31
Nos. 31 and 32 are latest in
.
Ammon,
to,
the middle of the fourth century,
other parts of the Greek world.
some of the other gold
mentioned.
Ammon,
classes as regards
Nos. 26 to 30 which are of silver are probably anterior
period.
to
the coins of the whole Cyrenaic district refer to
in athletic contests.
victories
The
;
all
in his
The
remark that the plume attached to the
above the forehead on Nos. 26, 28
is
placed there
and plumes worn at the same place by the Egyptian Amen-Ra. Perhaps too there is in No. 26 something of the tough animal force which belongs to the ram and which was embodied in Ammon as god of pro-
^^•^*^~
in imitation of the globe
creation
and growth.
In 27 and 28 this aspect of the
deity
is
ix. 20.
kept in the
background.
In the gold coins Nos. 31 ^
R,
S.
— 34
we may
Poole in Encycl. Brit, 8th Edit. ^
trace the merging of the barbarous s. v.
Numismatics,
Kunstmythologie, n. 294.
p.
373.
^^-^l^"
ART AND MYTHOLOGY OF COIN-TYPES.
168
ill
is IX. Hi.
the Hellenic type, and of physical in moral attributes, if we take them in what probably the order of date, for which purpose we must unfortunately exactly
On
invert the order on the plate.
No. 34 we have an early figure of
horned, standing beside his ram, but scejDtre of IX.
ri:i.
Here
Zeus.
the himation
and
his
and leaning on the muscular development
On No. 33 the deity is without his want of refinement. By attendant animal, and is occupied in pouring incense on an incense-altar. this action the Greeks, mingling after their fashion active and passive, seem to have expressed in this and many other cases that the god is an object of worship there
is
a certain
to a greater
We
symbolical of that which belongs to
him by
Ammon,
the
figure his
horned, but seated in
still
the sceptre of command.
On
of the
we have no
No. 31
we have Zeus-
32
attitude
characteristic
may be that this we know that the worship It
eagle.
Ammon,
as
vailed at Gyrene
^,
Olympian
longer a
like the
figure
last
horned
Zeus
of the Arcadian
Gertainly the Zeus of our present
same god on the early Arcadian
be the case, none the
less interesting is
coins,
pi.
iii.
unconnected
however,
is,
Lycaeus pre-
having perhaps been introduced by the law-giver
Mantineia in the sixth century.
15,
Demonax of coin is much
But even
16.
if this
the progressive elimination in the Gyre-
naic coin, at the best period, of foreign elements shall
On No.
nature.
but a noble representation of the Hellenic Zeus in his majesty, holding in
hand the
with
of course fancy that he sacrifices
must not
than himself, but merely take the action of worship as general, and
god, holding
III. 15, 16.
in
the god
in the aspect of
and receives adoration from men. IX. 32.
clad
Ammon
in
have in the course of these pages to trace
the
national
a similar
worship.
course
We
of affau-s
in
other districts. IX. 35.
On No.
IX. 30.
a somewhat
35
we have
stiff
work
for the period (the obverse is
a victorious rider on his VII. 39.
a victorious Cyrenaic chariot, driven
The prowess
of the
in the
of
people
many Panathenaic
of
X. 30.
On
vases.
the arms of Gyrene,
a
No. 33); on No. 36 appears
contemporary coinage of Macedon,
Gyrene
strange to no reader of Pindar, and X. 29.
herself,
In this case the proportions are far better preserved
keles.
between man and beast than
by Victory
silphium
it
in
is
No. 29 plant
gymnastic
and
hippie
pi.
vii.
contests
39. is
by the discovery at Gyrene we have what may be considered as attested
conventionally
treated,
the
convention
however weU displaying the nature of the plant and its manner of growth. On No. 30 we have a symbol of the fertility of the region, three silphium plants growing from a single
root.
And between
belonged to the fauna of the district; field
to right,
and a chamaeleon
in
the stems lurk three creatures which an owl above, a jerboa leaping in the
the field to
charmingly together on the surface of a single outdoor life of the region. '
Hdfc.
IV.
203.
left.
coin
Cf. Miiller, A\i7n. de VAnc.
The whole device brings the
Afrique,
surroundings
i.
68.
of
the
PERIOD OF FINEST ART, LATE.
169
Asia Minor.
The period
Many
371
B.C.
— 335
a peculiarly interesting one for Asiatic coins.
is
allowed by the
of the Persian satraps were then
money
whether
of their own,
for currency
think, on the occasion of military
Lampsacus
valuable because
In the next age the art of Asia Sicyon^ so as
almost to lose
its
is
And
of coin.
flooded and destroyed
scarcely a coin on
character
Asiatic
x.
pi.
cities,
Cyzicus and
coin
this
by that
character, except
individual
copies of the semi-barbarous statues of oriental antiquity. is
some rather the more
is
attained by Graeco-Asiatic
represents the highest limits
it
several
issue
as
or
districts,
And
expeditions.
struck an abundance
especially,
their
in
power to
central
To put
Athens and
of
when
art.
it
returns
in
shortly, there
it
which an expert would not at once identify as of
whereas in the coins of Asia of the next period at the top
;
of plate XIII. scarcely
any
is
of distinctively Asiatic design.
Of the specimens of Asiatic coins in the lower half of plate x. we might well make two classes, which we might call respectively the Persian and the Greek. The coins issued by Persian ofl&cers, even when the work of Greek style
in design
The
rest,
either in mythological allusions or in
;
In this
they contain a foreign element.
are included Nos. 49.
Greek
are seldom purely
artists,
and 26 to 35 of our
22,
which
class,
I will
first
take up,
with the heads Nos.
plate,
46
to
which are uncontrolled works of Asiatic Greeks, must be dealt with
afterwards.
In our figures
first
among
for
;
or
semi-Greek
class are
Asiatic peoples the custom
head only was not
figuring his
a large number of corns with full-length
in favour as it
not prevail until after our present period.
Halicamassus, of the Carian
two-edged axe.
was
also
as a
Simonides
to
called
god of war, and
Here he
TreXe/cv?.
As the
fashion.
artists,
we may suppose
him by some great '
G.
by
No. 22 we have a figure from Labrandeus, the
or
^
a
wielder
Ap. Athen.
coin
was
wielder
by
bipennis,
and
x. 22.
of the
p.
456.
Avho
considers Zeus Stratius
and
piratical
mainly
with hair arranged in somewhat
Mau solus who
encouraged Greek
may resemble a cultus-statue On No. 26 we have a figure of a Greek
Cf.
was
war of the Carian s.
that this figure sculptor.
x.
issued
the
of
Maury however
a standing figure fully draped and
is
or deity
was among the Greeks, and did
On
especially of the maritime
archaic
for
Stratius
man
In some respects his worship resembled that of Dionysus, who
according
in certain places
Zeus
representing
of
Religions de Maury, '
la Grece Ant.
lu.
set
up
hoplite
139.
22
x.
^ft.
ART AND ilYTHOLOGY OF COIN-TYPES.
170
in
enemy s
It
charge.
Waddmgton ^
M.
Satrap Orontes. of Chabrias,
a
receive
to
attitude
in
sees
who mtroduced among
charge, of
from
is
by the
military
reforms
custom,
an
receiving
in
kneelmg on one knee and supporting the buckler against the
Chabrias was hunself sculptured in
other.
the
Ionia
in
the
to
alkision
it
soldiers
his
struck
coin
a
we
as
attitude,
this
yet
learn,
it
is
perhaps more in accordance Avith analogy to see in our type not Chabrias, but some ancient hero. The apparent superiority in attitude over earlier figures may X. 27.
No. 27 we have a noble figure crowned with a wreath and holds in one hand
On
result only from superiority in the designer.
She
of a deity from Cyprus.
is
The
a patera the symbol of worship, in the other a bough of some tree. is
massive and in high
The
relief,
and the treatment of the drapery arranged
folds of the chiton in front are skilfully
The
from the shoulders behind.
right
arm
much
is
very notable.
is
a himation
;
figure
hangs down
With
foreshortened.
regard
M. Six has quite recently put forward a novel and bold theory. He maintains that it is intended as a copy of the statue of Nemesis at Hhamnus in Attica which was a work usually attributed by the ancients to Agora-
to this figure
critus of Paros,
of Pausanias
We
but sometimes to Pheidias himself.
learn
a
Stephanos adorned with stags and
holding in one hand an apple-bough
head of the statue
is
and
preserved in the
favour of M. Six's theory
may
the
other
In
;
The next
scarcely establish tlie certainty of
but that a reminiscence of coin,
it
intended
is
Ave
certainly
the
quite unconnected with her.
great
The
not
an exact copy of Agorais
Parthenos of Pheidias
corresponds too closely to that of the
ha;ve
goddess by Pausanias^.
by no means unlikely.
No. 28, seems also to be taken from an Attic
that original nothing less than
it
patera.
be cited the correspondence of attributes, and the
tlie
critus' statue
Part
and
Elgin room of the British Museum.
on the coin a Stephanos such as that attributed to
we can
Victories,
the
a
But
In any case
small
of
in
Pheidian character of the drapery of our coin-type.
suppose
from the testimony
and other ancient writers that the statue was eleven cubits high,
bearing on the head
X. 2H.
^
orio-inal,
The attitude
itself
Athenian goddess
and
to
allow us to
of the piece is indeed by no means good, the coin is Lycian of the hard and liny work frequent in this class of money. The right hand which supports the Victory rests on the stump of a tree, a device clearly applicable to sculpture in the round rather than relief In the new statuette of the Athene Parthenos of Athens* the right hand is similarly supported by a pillar, and it has been disputed Avhether this pillar really occurred
point
we
coins
and '
'
in the
art
great original in gold and ivory in the Parthenon.
shall not here discuss, reliefs,
This
but the testimony of the present coin, and other seems to prove to demonstration that the device of usino- a
Melanges de Numism.
ii.
22.
Sue Overbeck, 8chr\ftq;vAhn,
p.
149.
'
Six iu
'
Joitr.
N aiiu
Chron. 1882,
Hell Stiul
ii.
p.
1.'
p.
89.
PERIOD OF FINEST AET, LATE—ASIA MINOR. tree or a pillar or
some other prop
171
hand and what
to support the
Avas
beax's
it
sometimes employed even in great statues. Had this expedient been unusual, or been regarded as contemptible, it would scarcely have been copied in reliefs, where it obviously is quite inappropriate and has no meaning. Nor can the date of its first use be late, for our present coin cannot be placed later than the time
of Alexander.
On
No. 29 we have a
Due de Luynes^.
The
Deities of the city,
incense which
was issued
coin
able French archaeologist
saw
belong
On
the
late
In
midst
the
right
of
two of the
of
an altar of
is
Sardanapalus
stands
it
principal
transformed by a Greek artist from his primitive Asiatic form (cf pL xiv. 17) to that of an effeminate Zeus or Dionysus, but still preserving the characteristic attitude of the of the fingers^.
who with
hand which the Greeks interpreted
outstretched hand seems to be addressing him
exhorting him to attempt
have a group with a moral
lesson
in
it,
Zeus
as
with
beside
;
crouching
or
;
is
in
things.
or
an
incense-altar,
who was
beneath
circle
identified sits
the
x. so.
either
on a throne
throne
Around the
a
bull
coins
but
scarcely
elsewhere
in
is
city
a ch-cle
which
of
the
Such a chxle recurs
with his presence and covers with his protection. ancient
times.
We
may,
waves on the coin of Camarina, pi. vi. 13, and On No. 31 from of Maeander-pattern on coins of Magnesia in Ionia.
however, compare the the
occurrence
yet he holds in his hand corn and grapes, which proves that he was
Byzantine
on late
we should
turning to our next coin No.
Baal,
and
so
unprecedented
towers which stands for the walls of the city of Tarsus, fills
If
Due
as the
possibly,
:
regarded as patron of natural growth and rural increase.
deity
17.
contemptuous snapping
In the present instance he
Dionysus.
him
better
a rare
among Greek coins. We are on safer ground Here we have the chief deity of Tarsus 30. Zeus
as a
xiv.
Opposite to this figure stands his cousin, the Greek Heracles,
de Luynes thinks,
with
x. 29.
by a Persian Satrap, and the
at Tarsus
Sardanapalus.
both.
to
by the
2^1ausibly explained
in its type representations
and
Heracles
may
which has been
grouj:)
circle
of
Mallus we have again a remarkable
gi^oup.
vi. 13. x. ?a.
Aphrodite leans, thinly draped, upon
and lays her arm caressingly on the shoulder of her companion, who however is not her usual lover Ares, but Hermes, holding a caduceus and clad Here too we do not seem to discern a Hellenic myth. Probably in a chlamys. both the figures are mere Greek transcripts of Cihcian deities; what deities a
pillar,
we cannot now
stay to
enquire.
On
No. 32 we have a figure in Persian dress
This examining an arrow, while a bow lies at his feet. archer is either some deity or hero, or perhaps the Great King of Persia in Above is the symbol of the divine presence, a generalized and idealized form. seated and carefully
^
^
Nimiism. des SatrapieSj
And
p. 20.
put into words in the phrase, iaOu wive
Tral^e, o!?
raAXa tovtov ovk
ajta,
Atheiiaeus
xii. p.
22—2
530.
x. 32.
ART AND MYTHOLOGY OF COIN-TYPES.
172
The seated attitude of this figure, like that of Apollo on the coins of the Greek Kings of Syria, and that of the Parthian King on the Parthian money, seems to have suggested to an Asiatic mind rule or dominion.
winged
disk.
No. 33 we have a figure of Pallas seated on a rock at the foot of a This coin is from In her hand is a spear and a shield lies beside her.
On
x.s-d.
tree.
was much venerated
Mallus, a city where Pallas X. 81, B4.
No.
—
On
31,
The
flower.
delicacy with which her garments are folded
On
extraordinary and admnable.
sumably Dionysus, seated X. ao.
we have a young male a vine. With the grapes
35
midst of
in the
com
are mingled as on the
No.
The
style.
manner 33
is
they.
in
one in regard
thing that strikes
first
surroimded by Barbarians; yet she does not seem of
circle
mythology our
treatment of those types Hellenic style
is
two
sides of one
but we find
;
of Assyrian
little
4, 5.
pi.
XIV.
4,
the second century
Hellenic until
X. *2s,38.
form an exception to this
5,
very notable
how
points those
of Crete
Tx. 11.
on the coin of Aptera,
ix'^;
tree,
so
is
the coins
closely
of
trees on our Nos. pi.
ix.
the Cretan goddess on
in the midst of a tree,
as are
ix.
pi.
Persian
not
become second
Satraps
resemble
33
are
place in
And
yet as
Something may be to both series,
the
set
down
but this
await one more ^-If-
to
33
is
^^-
Of the female barbarous
origin
smothered
with
pendent earrings.
to the
in
itself
these
of
Cretan
is
coins.
resemblances
we
are
in
a
placed
Many
and the the dark.
character of semi-barbarism
not a sufficient
which attaches explanation; and we must
complete. heads, Nos.
the same Goddess, the -^-
is
of
some
seated beneath
Dionysus on our No. 35
Apollo and Europa on the
reason
is
way
their
other points of likeness will be visible on close inspection of this plate last.
it
wonderfully like the tree
on our No. 5.
in
cf.
design
in
In the
more particularly
28,
Pallas
11.
even in case of the
;
and Persian convention,
and do
our aera.
;
do
nor
place
Only the coins of Phoenicia,
rule
the
same period
of the
The
introducing trees.
before
of
on the whole victorious.
find indeed very various degrees of merit in the design
even when the coins bear Aramaic inscriptions. XIV.
The Pallas on No.
out
We
coin
harmonious
take their types, in the
coins
this period
in
of the vine
the
is
which they blend Hellenic and Asiatic elements.
From whatever
pre-
figure,
few words as to their
them
to
quite
is
Before quitting this
of Tarsus, No. 30, ears of corn.
remarkable Graeco-Asiatic group of types I must say a
X. 3H.
represented
is
No. 34, from Lycia, we have a distinctly Asiatic goddess, whom we may if we please call Aphrodite, but whom it is safer merely to class with Kybele and Mylitta and the Ephesian Artemis— seated between two sphinxes in
and holding a X. 35.
other side
its
:
46—49, the
Paphian Aphrodite.
and her
complete
last
In
them we can
Hellenlzation.
ornament, wearing a lofty tiara
On
three are Cyprian and represent
On
No.
trace
48
alike
she
her
appears
covered with jewels and long the early terra-cotta figures of the same deity from Cyprus
PERIOD OF FINEST ART, LATE— ASIA MINOR. barbarous
this
profusion
ornament
of
equally
is
173
'
On
conspicuous.
No.
the
49
x. 49.
goddess wears a diadem of peculiar form, with leaves or medallions at regular
The same ornament is found on the head of a Goddess on coins of Euboea and on a terra-cotta of the British Museum but it also does not appear to be native to Greece, On the other hand the head of Aphrodite on No. 47 is of thoroughly Greek type. The Stephanos here is, like that of Hera, adorned
intervals.
;
with flowers,
viii.
pi.
cf,
goddesSj which however
and although
Hera,
expression.
It
is
has
from
suffered
time
a good instance to shew
the Greeks reconquered
the
had spread, and repaid with
how
completely in course of
much
It
of
their
from a coin of
is
by the Satrap Pharnabazus, and reminds us at once of the Syracuse, pi. vi. 22, and Thessaly, pi. vii. 35. Probably the
We
but
46,
it
next turn to the purely Hellenic types
trace of barbarous influence
little
Mr
Ionian softness.
Poole,
several,
assigns as the
of
influence
mark the
coins
of the
cause
freer attempts at expression
characteristics do
Cilicia struck
coins just
x. 46.
of
cited
vi. 22.
and harder work. In them there is
is
something of
advocates
the theory
the great painters, of
we
boldness of design in our coins,
than are usual elsewhere. are about to discuss,
Certainly these
more
especially those
and Lampsacus.
of Cyzicus
On
of plate x.
already cited^,
the
mythology
such as Parrhasius, Apelles and Protogenes were Asiatic Greeks.
This influence he
and their
degree
time
nymph-heads
but on the other hand there
;
his paper
in
marked
that they betray in a
whom
of another style, of ruder
is
of
had borrowed from the East.
interest all that they
No. 46 seems to be the head of a nymph.
were the models of No.
the
of
much charm
preserves
stiU
sources whence
Semitic
head
the
to
composed and stately type than that of
of far less
is
it
and lends dignity
40,
14,
13,
x. 47.
No. 23, from Cyzicus, we have a figure of Apollo seated on the Delphic
x. 23.
omphalos, holding in one hand a patera, and letting the other rest lovingly on his lyre.
It
is
how
remarkable
from that current at Delphi
recall
of Hellenic
colonies
On
pi.
vii.
conception of the Delphic god
At Delphi
44.
the god
is
fully
on distant shores.
life
The type
not very original, and belongs to a class which
and morals,
or the founder
of our present coin, however, is
numerous at
this period.
No. 24 from a gold coin of Lampsacus we have Nike kneeling, hammering This
the Alexandrine age
gems;
vii. 44.
but here the patera in his hand and the cock at his feet
;
a helmet to a trophy. in
see
this
the sun-god than the ruler of
both rather
is
itself,
is
the master of the lyre and of prophecy; at Cyzicus
draped, and thought of as
he retains the lyre
different
for instance, pi.
we
xi.
an early instance of such employment in Nike
is
could cite
21, xiv.
^
1.
Num,
a
multitude of instances from coins
;
and
In other cases however Nike stands; her
Chron. 1864,
x. 24.
xi.
21.
AET AND MYTHOLOGY OF COIN-TYPES..
174
posture here
is
on which she x.2.1.
On
unusual, though by no means ill-considered in relation to the work to the field of the coin. is engaged, and extremely well adapted
we
No. 25, also from Lampsacus,
Her
Cora rising from the earth.
see
face
upraised; in her hand are three ears of corn, and others together with grapes Complete is here the identification of the are springing behind her shoulder.
is
goddess and her attribute like
:
she
is
the
figure
X. 41.
growing corn, and
corn and vine growing, and returning again to the
earth after lying hidden in beautiful
ears of
She does not make the corn and vine grow,
half buried in the ground.
it
but she
X. 41,45.
embowered amid the
is
thoroughly understood
who designed this With this figure of
Certainly the artist
depths.
its
face of the
Hellenic
religion.
Demeter from Cyzicus, Nos, 41 and 45, No. 45 mio'ht almost be an enlarP^ement from the head of our Lampsacene figure. The veil would seem to shew that the head is meant for the mother goddess, but its brightness and upturned attitude speak of growth and life not of depri-
may compare two heads
Cora we
On
vation and sadness. the
Demeter
the
only sober
of
we may goddess who
No. 41, on the other hand, the sorrowing
the Mysteries,
band
of
in
the
rainbow of
Greek
religion.
certainly recognize
almost
constituted
Her
veil
drawn
is
forward, not put out of sight, and in the expression of the face sadness tempers dignity.
In the coins lately cited there certainly seems to be something of pathos
X. 38.
The same character and of sentiment, something on the borders of painting. On No. 38 we have belongs to other Lampsacene coins, such as Nos. 38 to 40. Who this may be is doubtful, a male bearded head wearing a wreathed pileus. probably the artist would
names have been assigned him and Hephaestus. VI.
4.
X. 39, 40.
called
in
These attributions are founded on the conical shape
of
the
shew that such a head covering might This head has not the stately repose be worn by a local hunter or hero. which belongs to the divine and consummate artist Hephaestus, nor the expression of restless daring and intrigue which belongs to the hero of the Odyssey. In any case the Possibly it may be the head of one of the local Cabeiri. There is something lank hair and strongly marked features make it remarkable. Of a similar character are the two heads of Maenads, about it quite modern. The former head looks as if in the very midst Nos. 39, 40 from Lampsacus. pileus,
of a
but
a reference
to
pi.
vi.
4 will
wild orgy, the hair wildly disordered and the streaming ends of the ivy-
wreath X. 40.
him by a Hellenic name, and various modern times, among others, those of Odysseus
have
indicate
excitement.
the ears
;
rapid
motion,
the
The head on No. 40
is
expression in repose
of
bestial air to the features
governed fury.
We
head
is
one
of
fierce
and the hair hangs loosely about
but in this case the introduction of
non-human and
tlie
a pointed ear
gives
a certain
which repels us even more than un-
can scarcely be wrong in tracing the adoption of such types
PERIOD OF FINEST ART, LATE— ASIA MINOR. the influence of Praxiteles and Scopas,
to
Avhom
to
due,
is
complete development in artistic shape of the Dionysiac
The
influence of the
which No. 36
same school
is
175
as
know, the
all
of daemons.
circle
in the full-face Apollo heads^ of
visible
from a coin of King Mavisolus struck probably at Halicarnassus,
is
and No. 37 from a coin of Clazomenae. In both of these we find great beauty and delicacy of treatment; in the case of No. 37 there is a pathos of expression,
x. 3C. x. si.
a proud dignity which at once fascinates. Mytilene, No. 44, seems very tame in is
from Clazomenae, and
also
The head of Apollo in profile from comparison. The swan of Apollo on No. 50
x. 44.
In No. 42
x. 42.
singularly noble, yet not untruthful.
is
from a Cyzicene stater of electrum, we reach a representation of a most puzzling
The
character.
about
ceased
390;
B.C.
by Mr Head^ to have writers seem agreed that they do not come down Alexander the Great yet here we have what at
Cyzicene staters
of
issue
all
lower than the accession of looks
first is
like
supposed
is
;
a thoroughly realistic portrait of a coarse-looking man^.
quite a fixed point in the history of Greek
realistic
portraits of
then to have a
The
an
conflict
result of a closer
gives
it
earlier
;
that the
so
the appearance of
one
neck, the swelling veins, the
is
the
form
square
non-Hellenic
pi^ofile.
believe appear wearing wreaths before the third
merits
coin
inspection seems to be that this
it
there are no thoroughly
art that
We
time than that of Alexander the Great.
of evidence
Yet
the
of
But
century
a serious study.
not a portrait.
is
the
head,
portaits
What bloated
do not ever
and a Greek
:
seem
I
artist of
the best time would scarcely occupy himself in imaging the repulsive features of a barbarian.
It
is
almost certain that the head on our coin must
therefore
be that of some slavish or barbarous da,emon of Greek mythology, in bability
all
pro-
that of one of the more disreputable members of the Dionysiac rout,
Considering the boldness of
perhaps Priapus.
Silenus
or
Asiatic
coins
at the
scarcely say that
period, especially those
the type
is
of Cyzicus
too vulgar and
design
exhibited
by
and Lampsacus, we can
brutal to represent deities of this
loose character.
On
No. 43 from Tenedos we have a janiform head,
male the other female.
This type aroused curiosity
of which
among the Greeks
one side
is
themselves,
and Aristotle^ entertained a fancy that the type arose from a decree of a king There is far more probability in the of Tenedos, punishing adultery with death.
M. Lenormant * that the head is that of the dimorphous or androgynous Dionysus. The point for us to observe is that the heads, at first rude, become in the period of fine art so stately that they have frequently been taken opinion of
'
Num.
^
See the remarks of
^
A pud
*
In Daremberg and Saglio's Dictionary,
Chron. 187G,
Steph. Byz.
293.
p.
W.
s. v.
Greenwell in the Num. Chron. 1880, Tenedos. s.
v.
Bacchus.
p. 11.
x. 48.
AKT AND MYTHOLOGY OF COIN-TYPES.
176
Zeus and Hera. So great was at that time the love of the Greeks their conceptions acquired noble forms that many even of the less worthy of
for those of
for
_
dignity and grandeur.
Copies of Statues.
Of a few XV.
20, 21.
Nos. 20, 21 of
copies on coins of late time.
we have probably
of the Praxitelian age
statues
of the
faithful
xv., from Cnidus, present us one
pi.
ancient with the head, the other with the entire figure of the most celebrated of The full-length figure has Aphrodites, the nude figure at Cnidus by Praxiteles. has b)een fully discussed in the text-books of the history of sculpture, the head attracted
and the coin
observation,
less
of
my
plate
we may
length and pose of the neck and in the line of profile the
the
of
characteristics
XV.
23.
certainly discern
Praxiteles
of
and the
;
coin,
have a possible copy on the coin of Alexandria Troas, pi. xv. Apollo here is fully draped, as in the other work of Scopas, the Palatine
of the 23.
In the
however rude, Of a great statue of Scopas, the Apollo Smintheus
school
possesses elements of beauty.
unpublished.
is
Troad
w^e
and as on the contemporary coin of Delphi, pi. vii. 44. But certainly the pose seems very stiff for the age of Scopas, and the hair is arranged in Probably for these reasons Brunn, Overbeck and other writers archaic fashion. do not accept the identity of the statue of Scopas with that on our coin, an
statue,
by K. O. MtlUer and Welcker. The evidence however may It is stated, and seems to preponderate in favour of MuUer's view. evident from the statement of Strabo"^ that the statue of Scopas was The silver coins ^ of statue in the temple of Apollo Smintheus. Troas bear a figure of Apollo draped, with the inscription ATTOAAQNOl
identity maintained
be shortly
abundantly the
cultus
Alexandria
On some
ZMI0EQ2.
of the copper coins of the city a figure in essentials identical
appears distinctly as a
copper coins there
cultus-statue,
i.
at his feet the rat or
is
The statue
the words of Strabo.
receiving
as
e.
mouse
manner
in
in advance,
which Apollo stands with both feet
and
in
of being
seems clear that
in
all
But we cannot
'
Strabo,
p.
it
alike
the
intention
as
'
be
from them in the
instead
on to
is
entirely free ourselves from
G04.
differs
to
of putting
one
long and arranged in a sort
is
bound round the head,
cases
evidently meant
is
togethei",
the fashion of the hair, which
of queue instead
Scopas.
but
other
exact correspondence with
in
of our present coin
the same as that on the coins just mentioned;
and on
worship,
a
the
silver
portray
dilemma.
Br. Mvs. G-aide,
vi. a.
the
coins.
It
statue
of
The statue on
11.
PERIOD OF FINEST ART, LATE—COPIES OF STATUES.
which cannot be reconciled with the age which is of Roman period, and which seems
the silver coins has nothing about
But the present
of Scopas.
177
it
coin,
executed by a far more careful hand, bears marks of distinct archaism. accept one of two alternatives
duced
traits
of archaism not
certain
retain
archaic
—either
:
in
may have
or
the
must
coin intro-
of
Scopas did
second alternative
we should
else
weighing the
In
traits.
model,
his
who designed our
the artist
We
statue
bound for religious reasons to adhere to an older type and it is worth while to remember that Strabo applies to the statue the term ^oavov, though that term need not imply something archaic. In weighing the first alternative we must not fail to observe that it is very easy to suppose that an artist of coins in the second century b. c. would modernize a statue which he copied but less easy to imagine that an artist of Ptoman times woiilcl distinctly give an archaic character to a work of art which he was copying when
consider that Scopas
felt
;
;
such character did not belong to
Some
it.
editors of Strabo avoid the difiBculty
by slightly changing the reading, substituting epyov for epya^, in which case the mouse at the feet of Apollo, and not the statue itself, would seem to be attributed to the hand of Scopas. But it is most unlikely that Scopas would condescend to such a trifling piece of work, or, if he did, that Strabo would record the authorship of the mouse and not that of the statue. There will be found on pi. xv. a few other figures of deities which we will although they
here mention,
need not belong to
the
present
period.
Indeed
them which are enthroned would seem rather to belong to the previous when the pupils of Pheidias were erecting seated statues in so many
those of period,
Greek temples. No. 27 is a coin of Chalcis in Euboea, bearing the figure of a goddess with turreted crown seated on a rock or mountain holding a patera and a sceptre bound with a fillet. That this goddess is Hera the inscription, "Hpa, testifies, but the form taken by the goddess is unusual; her mountainthrone
is,
On
I think, unexampled.
Hermes seated
in a shrine
out exceptions, that
when
No.
from Corinth, we have a figure of
24,
with a ram beside him.
It
a
is
rule,
I think
thus appears in a building on coins,
a figure
xv.
27.
^v.
24.
xv.
25.
withit
is
a
copy of the cultus-statue which was the central point of the building. This shrine of Hermes cannot be older than the settlement of Roman Corinth by Julius Caesar
;
but the statue
Corinth, of earlier date.
up
set
in the
irapicrrrjKe
ad
11.
Se ol KpLos.
Acropolis p.
226.
of
later
This reading
this
by Pausanias at very figure
is
x^^^^^'^
^
as
Corinth.
Ka9r}ixcv6
We
may
well
beheve
supported by a quotation of Eustatbius,
16. '
G.
of those seen
ianv 'Epix'^<;, No. 25 gives us a representation of the armed Aphrodite
road to the harbour Lechaeum,
See Overbeck, Schri/tquellen, p. 30,
hke many
be,
That traveller appears to mention
who was enthroned on the »
may
II.
3.
4.
23
ART AND MYTHOLOGY OF COIN-TYPES.
178
armed,
that in early times she had been fully XV.
rude figure like a Palladium,
a
But No. 17, or the Apollo of Amyclae No. 28. seemed inappropriate, and the shield which alone was
17, 28. cf.
in
times
later
her
arms
was supposed The to be stolen from Ares, and used by the goddess merely as a mirror. and one of the conceit is much older than the Roman foundation of Corinth most plausible restorations of the Aphrodite of Melos places her in the same to her
left
;
XV.
26.
attitude as this Corinthian goddess.
statue of Apollo standing in
his
In No. 26, from Delphi, we have a cultusnaked,
temple,
patera and leaning his left elbow on a
pillar.
holding
This coin
because Pausanias in his elaborate description of Delphi^
in
right
his
interesting
specially
is
does not
hand a
mention any
would appear that the omphalos stood in the place of a statue. There was however in the Adytum a statue of gold, perhaps hidden there on and this may be the image represented on our coin. account of its great value It
cultus-statue.
;
It can scarcely
Sacred XV. 3L
War
have
been more
than the
ancient
sack
by the Phocians, who would hardly have spared
the coin of Alexander the Great, No. 31,
we have
during the
Delphi
of
so rich booty.
On
a figure as yet unexplained,
a naked youth standing and holding in both hands above his head a long woollen fillet.
This figure
is
not unusual on the coins of Sicyon.
may
It
be an Apollo^,
but we cannot be sure. This
but a small fraction of the instances in which coins
is
offer
us copies
which the most part have perished, though small copies of a few It would be a great and worthy work to collect the whole numis-
of statues, of
are extant.
matic material bearing on this subject; but this
can but endeavour to raise interest, not to satisfy included in the selection alike of
which the '
^-
originals are not
24.
copies
quite beyond our limits.
is
it,
of well-known
and with statues,
this
view I have
and reproductions
mentioned in our histories of sculpture. »
Mailer,
mim,
d'Alex,
le
I
Gr.
p.
219.
CHAPTER
VI.
Period of Decline
The
335
period B.C.
— 280
eauly.
:
witnessed the most rapid
which
transformation
ever took place in the history of the ancient world, probably the most rapid
the
history
world
of the
down
The horizon of Greece
the last century.
to
in
was enormously enlarged, and Hellenism extended into the seats of the great Empires of the East and at the same time civic and municipal life in the old Greek countries was ruined. The conquests of Alexander transplanted the tree of ;
Greek
civilization into other lands
yet the fruits and foliage of of a nation are
among the
it
;
and though
were
it
there took root and flourished,
time spoiled.
for the
The
artistic activities
to feel a sudden change in its centre of gravity.
first
had grown up under the shadow of Hellenic religion and was adapted to a state of civic autonomy; and when scepticism and philosophy took the place of religion, and regal systems the place of autonomy, the basis of
The
it
art of Greece
was cut away.
and followed new
Yet
it
was too
And
inspirations.
of vitality to perish
full
in
the process
lost
it
it
;
its
new forms
took
unity and com-
seemed to wander in the dark and frequently to occupy itself with unworthy subjects. This uncertainty caused the decline of Greek art, which consisted far more in the loss of ennobling ideas and stately self-containment pleteness
;
it
than in any real decline in the material processes. in skill in artistic
an
Pergamene and earlier
Roman
in
period; for in
all
these
respects
the sculptures of
Neo-Attic
schools will bear a comparison with anything of
is
only true
of the
The minor branches of
marked decline
after
art,
such
as
careless,
higher
in
and sixteenth century
Italy
of
and
sculpture
and painting. exhibit a
coin-stamping,
not only in intention
and design
Yase-paintings and coin-types alike become
and no longer mirror the
same phenomena recurred
art,
vase-painting
the time of Alexander,
but also in the details of execution.
fifteenth
inferiority
period.
This however
rough and
powers of the Greeks or
Eather we may say that in knowledge and love of nature, effect and in mastery of the processes of production art did
not decline until the the
artistic
at
Italian
the
state
time
of
of
contemporary
the
medals are worthy
art.
Renaissance. to
be
In
The the
placed beside
23—2
AUT AND MYTHOLOGY OF COIN-TYPES.
180
but at a later time, when painting shewed a moral rather than a material decline, medals became in all respects debased, and quite unworthy to be placed beside the works even of a Guido or a Carracci. Italian paintings
and sculpture;
K. 0. Muller well compares the art of die-cutting to a branch into which life spreads slowly from the main-stem. To enlarge on the comparison we may say that in the spring-time of art, when the stem is overflowing with life and energy, tliese flow into the branch in the tree,
still
it
;
but in the cold season, though the sap
pent in the roots and the stem, and does not reach out-
is
lying parts.
The upper at
limit of date in the four plates xi.
appointment as
the year of Alexander's
We
Hellas.
but even
of Persia,
—xiv.
General
have however excluded from them
before the invasion
is
many
not coins
is
and
fixed for convenience
Dictator of
practical
only
which may
time
of a
coins
all
probably have
been issued at a later date, in cases where they are a mere continuation of the
autonomous
coinao-e of cities,
and shew no trace of Alexandrine
influence.
It
is
more than probable that the expedition into Asia did not at once affect they were not changed imtil the coinages of Peloponnesus and other districts of Demetrius^ the days of Alexander's more grasping generals the Diadochi in fact
;
;
Cassander and the
rest.
In Asia the
change
may have come
earlier
and been
more marked, but even there we have proofs that some cities went on with their local coinages until the dominion of the Seleucid Kings of Syria was fully established.
shew
I
in
have however admitted into the plates scarcely any coins but such as
style distinct traces
of the influence of Alexander's age -or such as bear
inscriptions full proof of a date after the
in their
and Asia;
to Hellas
in Italy
and
an epoch, but here in place of
it
Sicily the reign
as a
ruin
of Persia.
This applies
not make
of Alexander does
landmark we have the expedition of the
Molossian King Alexander into Italy, and the reign of Agathocles in Sicily.
In numismatics the period has new and clearly-marked characteristics, most
may
of which
portions of the school
or
we
body, and the attitudes
Victory
The
pro-
of deities are those usual in the
becomes a very usual
type.
Deities
seated
on
standing take the place of deities seated on rocks or in landscapes,
and the choice heads
human
Lysippus.
of
thi-ones
be traced to the influence of Alexander and his coins.
of subjects
is
greatly narrowed.
And
in
the treatment of male
always traces of the personality of Alexander himself; more especially in those strongly ideahzed portraits of kings and imaginary portraits find nearly
of ancestral heroes
we as
which now become usual.
find complete decadence.
we
proceed.
Of
all
In the rendering of most anunals
these statements
we
shall
find
illustrations
PEKIOD OF DECLINE, EARLY.
181
Italy.
Our
Italian series, at the beginning
of pL
That
Heracles, from Heracleia in Lncania.
xr.,
this
is
commences with a standing a work of the decline would
xi.
i.
by anyone who went carefully over the coins of the city indeed the attitude in which the hero stands, facing the spectator, with his hands spread on both sides, reminds us of quite late productions, such as the scarcely be denied
Bactrian coins, Nos. 21, 22 of
specimen for the time
;
But
xiv.
On
we have an the memory
new
No.
2,
details
is
it
is
a very
favourable xiv.
At
subject.
Italy,
time the fondness of Alexander for
this
and
of his supposed ancestor Achilles,
impulse
on the subject
his enthusiasm
towards
representation in
the
works of art of subjects from the Iliad. Homeric subjects are found about the times of Demetrius Poliorcetes and Pyrrhus on the coins of several Thessalian
The subject
cities.
the
goddess
of the present coin
Thetis
on a sea-horse,
seated
Hephaestus, arms among which
We
the midst.
Scopas
our
;
coin
of the
is
yet
;
Achilles.
piece,
We
subjects
of this
essentials
in
No.
10,
it
bears
a
class
and
has
seems
fairly
to
in
It
is
apparently
the
son
arms of
Gorgon-head in
with
shield
later,
helmeted head,
her
to
more pretentious works of
better perhaps than
same
the
century
a
half
bearing
conspicuous
know that marine
Alexandrine style Scopas,
is
Homeric.
certainly
is
were favourites with in
something
it
represent the
of
style
of
The obverse probability meant for
later times. all
here meet one of the most marked peculiarities of the period, the
Not only do
influence on art of Alexander s personality.
his
feehngs
and
pre-
ferences dictate the choice of subjects in the productions of his contemporaries, but his features actually past.
lend themselves to
the
faces
Henceforth in the heads of heroes, and
and Heracles, one
of
all
even of
young heroes
of the
especially
deities,
Zeus
finds the deep-set eye, the leonine brow, the ardent expression
which belong to the Macedonian hero, and are the signs of a nature of fervid and overflowing genius, mingled with a slight tendency towards insanity. On a Alexander represented coin of Lysimachus, pi. xii. 16, we have a noble head of as son of idealized.
Ammon To
and
so bearing the horn of a ram,
this portrait
we must again
out the close likeness between that the ancestor
is
it
21,
executed in a manner worthy
from a coin of Pyrrhus probably struck in
Trojan war had given a strong
of the
in
the figure of Heracles
of a better design.
entirely
pi.
return;
but otherwise only slightly
at present
wish to point
Achilles.
It is evident
descendant,
and we must
and the helmeted head of
conceived in the likeness of his
I
xi.
2.
ART AND MYTHOLOGY OF COIN-TYPES.
182
head of Homer's
of the
confess that a happier idea
not
could
hero
easily
be
found. XI.
8,
On
4.
crowning their horses, from
a pair of horsemen
we have
Nos. 3 and 4
In Placed side by side these two groups form a marked contrast. the anatomical details alike of rider and horse are worked out with
Tarentum. the
first
The only
elaborate care and minute fidelity. is
attempted
for
coin
first
a thoroughly
much
not in time
is
we can
find
is
that too
every
in
the second.
to
anterior
The The two together seem
wooden group
stiff
way
to convey in briefest space the secret of the art history of the period
and refinement leading
ration
much
the space, whence results a certain want of vigour and harmony.
we have
In the second
fault
and
decline
to
rapidly
poor.
over-elabo-
;
poorness
inferiority,
in
execution soon coming to join poverty in design, and presaging the ruin of art, XI.
Here the form XL
G.
XI.
7.
of the hero
In his hand
masterly.
is
of
No.
and
respects
calm majesty,
in the
in
of late
place
which we may
and more effeminate
and
;
position less
his
darkness and
is
In the expression there
style.
of if
something
it
we
please
On
school.
Nos.
it
may
and
8
second from Tarentum.
enthusiastic
something appropriate
see
comparison with contemporary works as No. 10
Alexander; and that
and
earnest
an absence
is
an
;
the
to
Dodonaean Zeus Naius the great oracular god, who dwells served by the ascetic Selli. But at the same time a
ness of expression belongs in
9.
Taras riding on a dolphin.
a bunch of grapes.
but in
special character of the
ft,
a later treatment
6
in all
expression
XL
softer
is
pi. v.,
is
we have a Zeus-head from Locri in Bruttium of somewhat elaborately ornate type. On No. 7, a coin of King Pyrrhus, we have the head of the great Epirote divinity, Zeus Dodonaeus. The god is crowned with an oakwreath which is worked out in ornate style, and his hau- and beard shew careful tliough somewhat superficial work. The head is a noble one, although in low
On
relief
10.
from Tarentum,
5,
which we have already met on
of the subject
XL
No.
at least in the numismatic province.
5.
a marked degree
to
male heads
of
this
earnest-
the
time
of
be set down, at least in part, as a peculiarity of a are
9
shew us that
will
two ApoUine heads, the
In No. 9 there
is
visible,
in
from Croton, the
first
spite
of
the smallness
of
the coin, a decided mannerism, a pathetic expression which reminds us rather of 15th century Italian than of Hellenic art. No. 8 is of a more common-place character.
Noteworthy in
and slopes backward VJII. 37.
XL
15.
it
is
the arrangement of the hair, which
in a stream.
This
an exaggeration
is
very long
Wonderfully like this
arrangement and belongs altogether to the period of decline. 37, head of Apollo is that of Persephone from Metapontum
immediately below
No.
in the Zeus-head,
of
two
thought
so far
of the
yiii.
pi.
it,
different
is
deities
15; indeed so close
shews
that
at
this
resemblance period
the
between the heads die-cutters
of Italy
more of manner than of matter, and of form than of meaning.
And
PERIOD OF DECLINE, EARLY—ITALY. we need not be
after observing this
surprised
to
183
although the two
that
find
specimens in the plate are beautiful, the great majority of similar and contemporary coins at Croton and Metapontum are very poor.
On
and
Nos. 11
from Neapolis, we have
14,
perhaps of the Siren Parthenope.
what ornate
No.
style;
neatly executed class of
Eoman
conquest
14,
No. 11
which
when the dominion
earlier,
later,
is
money which
is
two heads of a nymph, orxi and of pleasing though somepoor and
the
of
is
prevailed in Italy about
Magna
in
ii,ii.
though
hard
the time of the
Graecia was passing from Greek
Koman, from a beauty-loving to an order-loving race. No. 12, from Thurium, xi. 12, and No. 13, from Heracleia, bear heads of Pallas, whose helmet is adorned with the sea-monster Scylla. Compared with the Thurian heads of previous times, pi. V. Nos. 17, 18, the present types are strikingly poor. No. 12 is of weakv. 17,]8. and common type, and it certainly belongs to the decline to load with heavy ornament the upper part of a Corinthian helmet, as in No. 13. The closeto
i.s.
Athenian
fitting
figure
On
helmet will
the
transferred to the back of a
No. 16
goddess
is
;
is
rather sorry than
easily
;
but the same
Corinthian helmet seems to overbalance spectator^ wearing
As
sorrowful.
(Nos. 17
— 20)
illustrations of the
All of
to
represent
river-gods,
in
call
it
lion
crushing xi.i7— 20.
Neapolis,
and
shew marked falling-off*. Among bull. No. 19. is the man-headed
these
them the only type of mythological interest We have had similar creatures before on coins
of
Sicily,
accordance
pi.
with
11.,
and these I
an
opinion
now
however probable that quite another meaning For we have no attaches to the man -headed bull of the Campanian cities. but sufficient proof that streams were objects of special worship in Campania almost universally admitted.
It is
;
we have on the other hand ample proof that the
cultus of Dionysus, especially
was there quite at home, and that the god was frequently invoked in the form of a horned youth or a human-headed bull. And figures It seems likely of this monster are often accompanied by Dionysiac emblems. of Dionysus Zagreus,
then that in the present and similar instances we have representations of the
Dionysus of the Mysteries in tauriform guise.
of
With the present period we may be Magna Graecia. Hereafter we have in
coins of the Itahc races, the Lucanians
their independence of the conquering
we have
discussed,
xi. ig.
animal types of the period
an eagle tearing a hare from Locri, a
a butting bull from Thurium.
explained
a corn-
Indeed we might venture to
a stag from Velia, a man-headed bull crowned by Victory from
Kave
it.
here more expression than in most numismatic heads of the
but certainly nothing very noble.
selected
Scylla
of
figure
a head of Persephone which faces the
There
wreath.
are
bear
it
said to
come
Italy scarcely
to an
end of the coinage
any but Roman coins or little
longer
in view of the corns
which
and Bruttii who maintained a
Repubhc.
And
can scarcely be said that the art of Italy, like that of
^i-
'^'^
ART AND MYTHOLOGY OF COIN-TYPES.
184
most
Sicilian
cities,
died a violent death from foreign conquest
;
rather
it
died a
came from without.
natural death before the final crushing blows
Sicily.
In Sicily the age of Alexander and the Diadochi XI. 21.
unknown
in
earlier
beautiful temple
of
Nike Apteros, but
is
not
foes.
to
The type
the frame
1.
;
occurs
it
instance
becomes
it
filled
for
Syracuse.
pi.
by the reigns xi.
No. 21
is
of
a
of Victory erecting a trophy in
the
more usual
far
by innumerable
frieze
of the
in the Alex-
victories over barbarous
and had every right
Agathocles too was a winner of brilliant victories,
introduce the type at
Zeus
times
when men's minds were
andrine age
XIV.
On
Agathocles and Hicetas and the expedition of Pyrrhus.
Syracusan coin of the age of Agathocles.
filled
is
In the present group Victory
is
nailing to
a conical helmet, in shape like that Tyrrhenian helmet dedicated to
by Hiero
I.
\
and probably meant to be Carthaginian.
with the present coin that of
amid general
Seleucus of
Syria,
similarity interesting differences.
attempt at an
artistic
xiv.
1,
we
we compare shall
In our Sicilian coin there
discern is
more
allowing the drapery to conceal only
result, especially in
the lower part of the body of Nike.
pi.
If
In
motive there certainly
artistic
is
a
between her and the Aphrodite of Melos but the likeness is probably one of those which spring from px-oximity of period rather than one which denotes
likeness
XI
22.
;
On
similar meaning.
No. 22, a Sicilian coin of Pyrrhus,
treatment of the archaic fighting Pallas, type the
ai'tist
17.
of this coin has put Pallas in motion;
XI. 23.
compare a coin of Seleucus,
10.
she seems advancing and
Here again we may
instructively
xv. 17, which adheres to the more conventional
On
No. 23, which also bears the name of Pyrrhus, we have again an original design; Nike appears floating down to earth, holding in one hand an oak-wreath, a meet reward for an Epirote victor, and in the other a trophy. type.
The idea of
xn.
pi.
a decidedly original
While preserving the archaic general
the end of her chlamys streams behind her. XV.
is
seems to be taken from the gold money of Alexander, pi. XII. 10; but the model is decidedly improved on in regard to the attitude of the Victory and varied in the attributes she carries, especially in the this
coin
sub-
trophy for the mere trophy-frame of Alexanders coin. There is one more of Pyrrhus' coins on our plate, No. 27, which bears a veiled female head and the inscription O^ia?. As Phthia was the name of the mother of Pyrrhus it is generally supposed that our coin ofi'ers us her stitution
^'i. 27.
of a
portrait;
Br.
Mus. Guide
to
Bronze Eoom^
p.
12.
and
cer-
PEEIOD OF DECLINE, EARLY— SICILY. tainly
head
this
and the
quite in the style of other
is
veil is just
185
.
idealized portraits of the period,
such as would be worn by a royal mother.
suppose that the head
not merely idealized but purely
is
part of Thessaly called Phthia
the eponymous
or
and represents the
ideal,
nymph
Some however
of that district, whence
Pyrrhus the descendant of Neoptolemus claimed the origin of his house to spring.
On
our plate are several other Syracusan heads of the period, Syracuse at
time ruling almost
this
being indeed a somewhat close copy from
probably Ares,
of Macedon,
Philip
vii.
pi.
The gold Phihppi had
30.
Western Europe, and
circulation
in
than their
artistic
the head
No. 24 represents perhaps Apollo, but more
Sicily.
all
it
is
that the
qualities
for a
On
of
staters
long time universal
Syracusans imitated them.
The
style
of
manliness than
less
we have a head not unlike that of Apollo but for the expression of command which it wears. The inscription however, Atos 'EXkapLov, shews that it is intended rather to represent Zeus when young. Statues of Zeus as a young man are so rare that a special interest the design on Philip's coin.
attaches to
this
coin,
No.
25
surname given
but the
the deity
to
and we have no means of explaining the reason of head of Heracles, on No.
On
15.
Nos. 28, 29
dates from loosely
26, is a poor
we have two Pyrrhus
the time of
falling
tresses is only
variety; in general type
The
other
is
VII.
pi.
46.
is
closely copied
all
is
by the Locrian
and the expression
of our plate
are
far
carefully preserved
is
far less dignified.
is
pi.
The
the relief vn.
chariot also,
vi.
xi. 30.
The two heads
earlier
of Persephone
heads on coins of Syracuse,
deliberately chosen to false
make much
drawing of the eyelids and
copied and exaggerated.
So
is
the ungraceful
formally ornate arrangement of the hair.
The
straightness
of the neck, the
which
on the Syracusan coin towards the top of the head becomes
Carthaginian coin a complete horn 2. ^
*
It
is
divides the head of Apollo
G.
leaf
in the
Nevertheless about this latter there
is
a
Overbeck, Kunstmythologie, n. 196.
worth enquiry whether
this
prominent leaf
on ancient British
46.
Carthaginian specimens, and interesting asxi. 31-
from contemporaneous or
heaviness of the chin,
rises
xi. 28, 29.
a thoroughly charming
best represented on our plates
But the Carthaginians have the worst points of their copy. The
eye, the
xi. 26.
the hair in
the traditional
such as No. 29. of
The former which
closer to
29, is
shewing the tendencies of the art of Carthage. are
The
not unlike the head of Persephone above, No. 15.
is
a 'poor cousin' of the Syracusan chariots of
Nos. 31 to 33
is
xi. 25.
;
coins, pi. xii.
the arrangement of
;
But while the general type
lower, the lines harder
No. 30,
pleasing
found at this period, and
which
;
so unusual a variety^.
heads of Persephone.
head of the same goddess, No.
type of Syracusan heads coin,
it
is
not distinctive
is
copy of that on Alexander's
late
vii. 30.
rather in deference to their commercial
however changed, and shews more delicacy and
is
gold
the
xi. 24.
may
not be the source of the great leaf which
coins.
24
AET AND MYTHOLOGY OF COIN-TYPES.
186
shewn by the fact that the head of the Republic on French coins of 1848 is in the main copied from it. On No. 33 is a horse standing, which is much like the late and stiff horse and dignity which pleases some
pride
XI. 33. XI.
4.
as
eyes,
above quoted from coins of Tarentum, No. 4
;
is
but he too
made worse
is
in the
copying.
Hellas.
Greece proper,
Passing to
pi.
we come
six.,
on the leading type of the
first
Of this deity we have a Zeus on the coins of Alexander the Great. representation from Macedon in No. 1 and another from Peloponnesus in No. 23. period^ the
XH.
1.
These two coins
being extremely
latter
may
the two pieces
the former being in design
;
and shewing
free,
standing on the
of Victories
pah-
remarkably in style
differ
as a
on the
variety
stiff,
the
type a
original
This difference between
back of the throne.
be partly accounted for by difference
of
period,
the
first
probably dating from the early years of Alexander's reign, the latter having been death.
struck after his original in.
15, 10,
bemg
The Zeus
43.
duced
of Alexander's coins
in
is
honour of the god represented by that statue
his
father Philip
On
Nos.
which, as
vii''*2.
who
2
in pre-Pheidian
3,
from coins of Demetrius Poliorcetes,
The
of Poseidon.
we have
somewhat
at a
the
2,
I.
chlamys
is
at rest,
Alexander not
15, v.
14,
he
5
any
16,
close
less
than
is
an attitude
of the
entirely naked,
the
;
is
familiar
and having
pi.
In early repre-
god hangs over both arms; vii.
attitude
2;
here
in the present case is
much more
also
in the act of striking his foes
us
to
strongly
but a freer reproduction of a type
is
the chlamys
In No. 3 Poseidon
in
we havQ two
striking with a trident,
figure
turned into a defence
boldly designed.
he
in
15,
probably intro-
is
already seen, specially belongs to Poseidon.
later period
is
in.
pi.
being eager to pose as favourite of the great Hellenic deity.
and
sentations, pi.
;
that
original,
an imitation
certainly not
a chlamys wrapped round the other arm,
14, 15,
same
the
to
Olympian statue of Pheidias, but the type
contrasted figures
L2,
point
a figure of the Zeus of Olympia and Arcadia,
sense of the great
2, 3,
both
clearly
times regularly bears in his hand the eagle rather than Nike, cf 41,
XII.
But
from
;
in
No. 2
the sculpture
of the postAlexandrine age, resting his foot on a rock and looking meditatively out over the sea, as Overbeck says, 'in seiner ganzen trotzigen Kraft^' Several other figures
butes his
of Poseidon are found on coins of the period distinguished
and
of dolpliin
brother Zeus
;
it
trident, is
but in
all
of
them
his attitude
is
by the
attri-
nearly that of
remarkable that in the case of Poseidon, as in that of Kitnstmythologie^
iii,
274.
PERIOD OF DECLINE, EARLY— HELLAS. Demeter and Hera, the testimony of most
coins
187
not easy to reconcile with
is
that derived from other sources as to the manner in which Greek artists ordinarily
and from Tenos, No. from Tenos,
also
type of Zeus deity
No.
Another apparent plagiarism from the usual seated
24.
supposed
beneath the throne
:
be a copy of the
to
22.
The healing
xn.
24.
xii. 21.
statue of gold and
which Pausanias describes the statue certainly '
He
ivory at Epidaurus, of the
The
of Pares.
closely apply to the
words
figure
of
on a throne grasping a sceptre, the other hand he rests
sits
on the head of his serpent; a dog do with a
This figure has been
a dog.
is
probably by his pupil Thrasymedes
of Pheidias,
our coin.
to
5,
Zeus in a himation,
like
the figure of Asclepius from Epidaurus, No. 21.
is
5, xii.
here seated on a throne, his right hand resting on the head of a coiled
is
school
have a seated Poseidon from Boeotia, No.
and a standing Poseidon clad
22,
snake, in his left a sceptre
in
We
represented the god.
by
lies
his side^.'
copy of the Pheidian Zeus
close
and
;
It
is
clear that
we have
scarcely with a type really
'
appropriate to Asclepius.
On
No. 4
,
a type which has attracted
is
much
notice in recent years.
It
is
xii.
4,
xn.
3.
from a coin of Demetrius Poliorcetes, and represents Nike or perhaps Fame standing
on the prow of a galley and blowing a trumpet.
This group and the fighting
Poseidon of No. 3 are obverse and reverse of the same
coin,
and are chosen
probably as a memorial of the sea-victory of Demetrius over Ptolemy near Cyprus
by Conze, Hauser and Benndorf ^ that this victory was also commemorated by a trophy raised on the island of Samothrace and consisting of a prow surmounted by the noble figure of Victory now in in
B. c.
306.
It
is
conjectured
and further that our coin is intended as a copy of that trophy. The writers mentioned shew that the figure of the Louvre was in the same attitude as that on the coin, and held the same attributes, a trumpet in one the Louvre
hand and
;
in the other a frame or stand for a trophy
which she stood was in is
sufficient
all
also that the vessel
respects similar to that of the coin.
proof that the coin was copied from
the trophy follows the
;
in
coin,
spite
of small
the pose and the arrangement of drapery.
on
Certainly this
the sculptural trophy, unless
differences
between the two in
This being almost the only instance
which there has come down to us besides the copy of a statue on coins the original statue so copied, it would be woi-th while to institute a careful comin
the two, a comparison which would
parison between
shew
clearly
what method
the Greeks of the third century followed in imitating on coin-dies contemporary
The copying is not so nothing essential, and only introduces works of
art.
close
as
varieties
in
Roman
times,
but
when almost compelled
it
omits
to do so
by the change of form and material conditioning the work.
^
Paus.
II.
27.
2.
:\
J
.
.
*
Archdolog,
Untersuchungen auf SamothraJce,
vol.
11.
24—2
-
ART AND MYTHOLOGY OF COIN-TYPES.
188
XII.
On
6.
who
No.
from Lamia in Thessaly,
6,
we have a
on a rock and holds on his knee a
rests
seated figure of
bow
young Heracles, This
in a case.
is
also a
work of the time of Demetrius, admirably worked out, yet possessing, at least to my eyes, something of formality and a set effect which does not meet us in xiL
7.
On
earlier works.
No.
7,
from the Phthiotic Thebes, we have a Homeric subject,
armed from
Protesilaus leaping
on to the
his vessel
Trojan
more complicated subject than would have been attempted at an and somewhat unfit
obviously necessary because
of the
repugnant to Greek ideas of xn.
8.
new
quite a
XII.
22. 9.
is
of space
restrictions
No.
we have
No. 9
spectator
less sculptural
great
The
interest.
deity
is
a type
the
of
and has
;
from Oeta in Thessaly,
8,
in
galley it
a
time, is
nothing
a Heracles in
is
The
and holding a club transversely.
than usual
;
assumed by the same hero on Bactrian coins of
On
size
earlier
is
which make more account of moral than material
On
position, facing the
attitude of the hero XIV.
art,
proportioning works.
in
size
The small
the field of a coin.
for
This
shore.
we may compare late
it
with that
date, as pi. xiv. No.
which long remained unexplained, and which
is
22.
of
an ancient statue of Hermes from Aenus. a mere terminal block surmounted by a head, and is set up on It
a close copy of
is
an elaborate and massive throne, the arms of which end in heads of rams and rest on sphinxes. We have literary evidence that archaic statues of deities, the Apollo of Amyclae for instance, were set
up
forms would certainly not allow them to
their
puzzled archaeologists
;
in sit,
some way on thrones on which
and
this coin furnishes us at once
this
fact
has frequently
with a clue to the mystery,
shewing that the simulacrum was commonly erected in an upright attitude on the seat of the throne. xn.
On
10.
No.
The gold
vn.30,33.
10
we have
a Victory from
a gold coin of Alexander the Great.
Phihp had borne on one side a head of Ares, on the other a chariot, pi. vii. 30, 38. These types were by no means suited to the ambitious and soaring mind of Alexander. Ares, the champion of Troy, was naturally discoins
of
tasteful to a prince
who
claimed, through his
Molossians, descent from Achilles, and
he should try to immortalize the
that
chose
entirely
Pallas
the
Nike.
It
of
Issus.
coins
it
had
games.
new types
for
patroness of the
his
was scarcely to be expected of Alexander chariot-victories
gold coin,
besiegers
mother who was a princess of the
placing
of
his
father.
So he
on the obverse a head of
and on the reverse a figure of was to Zeus, Pallas and Nike that Alexander sacrificed before the battle But the Nike of Alexander was not what figures of that goddess on hitlierto
She
nearly always
of Ilium,
been,
a memorial of peaceful victories in the
purely warlike, carrying in one hand a wreath for the victor, and in the other a trophy-stand to which when planted in the earth might be nailed the armour of enemies, cf. pi. xi. 21.
A
is
trophy-stand
is
also borne
by the Victory of No.
4,
and a similar stand by
PERIOD OF DECLINE, EARLY—HELLAS.
Nymph
the
189
Histlaea seated on the stern of a ship on the coin of Histiaea in
Euboea, No.
This last figure
11.
beautifully executed as regards drapery,
is
and
xii. ii.
a favourable specimen of the class of figures on galleys which become at this
is
age common, victories
Nos.
cf.
The
4, 35.
won, part of
a.
allusion in all these types
whether the acrostolium, the
ship,
being ordinarily part of a naval trophy.
no doubt to naval xn.
is
4, ar*.
stern, or the prow,
In the choice of the figure which
seated
is
on these galleys we have a fresh instance of the same kind of symbolism which
we
discerned
the case of the Sicilian chariots of
in
Victory herself; sometimes or
On
city.
the
of
Antigonus, No. 35,
it
Apollo,
is
In
special guardian deity.
Nymph
the
it is
all
it
is
Histiaea herself, the natural
On
which bore her name.
city
Sometimes
vi.
a more direct representative of the victorious king
is
the coin of Histiaea
embodiment
suit
it
pi.
the Macedonian coin of
who was probably regarded by the king
these cases the design of the coin
as his
such as would
is
a larger object, such as a trophy set up on shore as a memorial of victory.
On
No. 12
a seated Pallas from the coins of Lysimachus, king of Thrace,
is
xii. 12.
The Victory in her hand is crowning, by a favourite conceit of the period, the name of Lysimachus himself: thus indicating the connexion between goddess and king. a figure quite in the style of the seated state-deities of the period.
No. 13
is
a very
peculiar
type.
It
is
from
Uranopolis,
founded by Alexarchus, brother of King Cassander, a
whom Athenaeus
about
infected our coin.
On
It
tells
bears a
strange figure
tales of
Some
^.
man of
Macedonian
a
xii. 18.
of noted eccentricity, eccentricity
this
Urania seated
Aphrodite
city,
on
a
has
globe.
hand a sceptre bound with fillets and by her side a second cone surmounted by a star. On the other side of the coin is a radiate globe ^. We have here a number of allegorical representations of the heavenly bodies. The cone surmounted by a star seems to symbolize the sun and the sun seems also to be more exactly her head
a cone
is
surmounted
by a
star,
in
her right
;
and
physically
portrayed
in
globe
the
surrounded by rays.
Alexarchus attached some curious meaning of his Urania, torical is
who was
to
own
him rather an embodiment of
found in other statues of the
period
never more markedly than in our
coin.
such
In
as all
to the figure of Aphrodite
fanciful
goddess adopted by Greeks from Phoenicians. the
It is evident that
The
ideas
than the
tendency
allegorizing
Katpos
his-
of Lysippus
probability the design
is
;
bvxt
copied
from a well-known work of sculpture. next
Turning
to
heads,
we
will
begin
with those which are
ideal,
and
There will be found on the plate four effigies of Zeus, one from Boeotia, No. 14, one from Thessaly, No. 17, one from Elis, No. xn.14,17. Nos. 14 and 25 are nothing but inferior speci- xn.25,;^3. 25, one from Achaia, No. 33. afterwards come to portraits.
'
III.
20.
'
^
Cat. Gr, Coins,
Macedon, pp. xxxii, 133.
AKT AND MYTHOLOGY OF COIN TYPES.
190
of the type wliicli has been already discussed
mens VIII. 37.
of Arcadia
No. 17
37.
viii.
pi.
when
in the length
differs
the
coin
of Alexander
We
shortness of the hair.
form of Zeus
special XII. 15.
is
Epirus,
of
v.
pi.
No.
39.
it
On
question of artists and local style.
city
No.
that
or
and the
33
resembles the head on is
remarkable
must not however reason from these
intended at this
on a coin
occurred
of the moustache
spare and pointed form of the beard, in which respects V. 39.
it
varieties
probably
;
for
it
is
that a
merely a
a coin in remarkably high
15,
the
relief,
we have a
notable head of Heracles from a silver coin of Alexander the Great.
The
meaningless and heavy, but the work of the
face
is
especially of his lion's skin
combines the greatest
is
executed in a masterly way. execution
in
skill
head of the hero and In
fact
with poverty in design,
the specimen
and may be
considered in these respects as representative of the period to which
On
it
belongs.
Hera with the ethnic FaXeccov written on the Nos. 27 and 28, from Corinth, present us with XII. 27,28. Stephanos which binds her hair. heads of the armed Corinthian goddess of less noble type than those which we But No. 27 is redeemed from insignifi42, 43. VIII. 42, have already noticed, pi. viii. cance by the exquisite figure which it bears of Eros riding on a dolphin and nursing his knee, a very early and charming example of the playful treatment of Eros which becomes more and more usual from the time of Lysippus onwards to Roman times and those of the P^enaissance. But on our coin Eros is not yet a xn.
26.
26
No.
is
a head
of
XII. 20.
mere baby, but a graceful stripling
XI. 15.
mione
in
Argolis,
15 as regards xiL 30,31. pi^esent coin
is
is
facial
full
of
life
and
a head of Persephone which
angle
as
less elaborate.
well
On
as
brightness
activity.
may
No. 29, from Her-
be compared with
of countenance,
pi.
xi.
although the
Nos. 30, 31 are two heads of young
Ammon,
with the ram's horn, the former from Cyrene the latter from Tenos. The contrast between the two is striking, the Cyrenean coin being far more beautiful and finished yet they are nearly contemporary and furnish us with an instance to ;
shew that often in judging of the age of coins we must look above mere detail. The Tenian coin certainly shews a tendency to approximate to the type of Alexander the Great, whose favourite character was that of the son of Zeus
Ammon. xn.
32.
xn.
10,
On
No. 32
We
now
is
a pleasing head of a
Nymph
from Paros, one of those types which belong entirely to the decline yet have a vigour and freshness sometimes wanting at a better period. return to the group in the third line of the plate, Nos. 16, 18, 19 Avhich serves well to illustrate the 20, origin of portraits in Greece in the Lysippean age. The head of Heracles from Alexander's coin, No. 15, is entirely ideal;
but
well
known
that this type undergoes in the course of years a remarkable transformation; the eye becomes sunk and the forehead more furrowed, the hair arches from the brow in wavy masses and the whole expression changes it
is
PERIOD OF DECLINE, EARLY— HELLAS.
191
we
reach a type approaclilng the head of Alexander himself as it is presented to us on the coins of his general Lysimachus, of which No. 16 is among the finest specimens known. Of the later type an indifferent specimen will be
xii. ic.
found below on a coin of Aetolia, No. 42.
xii. 42.
until
And
as I have already pointed out the
heads of Achilles, of Dionysus, and of Zeus himself become more or less transformed into the image of the Macedonian king. At the same time a somewhat opposed tendency ments, but
also
is
human
beings
at
Not only do
work.
when they take
their
assume the character of some divinity. The whole subject of Greek portraits
assume human
deities
place
on coins
always
and a
linea-
at
first
work is one of the most pressing needs of archaeology. The out of date and thoroughly uncritical; yet we are still is
full of difficulty,
careful
dealing with the matter
work
of Visconti^ is
obliged to use
discussion. age,
Michaelis observes that
contemporary in design at art.
essential in the
we
possess
and shew
Such
a few
Euripides, which appear to
reproducing
which bears
all
details
as
the formation of the
and the momentary arrangement
of
the
portraits of '
Alexander
They almost
'though with '
which
still
also,
the
hair
freedom of handling,
prevailed,
at
least
he
entirely
same writer proceeds, we
entirely disregard the fortuitous full
in
some
of the
Periclean
of the
poi-traits
himself with
head before him, passing by
fortuitous character.
a propos
of Michaelis
satis-
be
in their style the ideal spirit of early
contents
sculptor
The most
treatise.
but they open rather than close the
;
of Thucydides and
least,
In them the
those
are
Thucydides at Holkham Hall^
those of Pericles himself,
Greek
any more recent
of
modern archaeology
factory remarks of portrait of
the absence
in
it
the
details
more
degree,
in
temporary
a
of the
surface
disregards.
is
or
skin
In
the
find similar treatment.
of actual
rigid
what
of
rules
the
life,
and
follow,
artistic
Hellenistic
style,
period,
for
The sculptor 'of Alexander's portraits seems as it were to stop short at flesh. But in portraits of a later time the skin plays a most important part.' In these later portraits, of which those of Demosthenes and Menander are typical specimens, we see more sharply-defined individuality combined 'ideal portraits. '
with a striving after pictorial
effect,
and a taste
for
naturalistic
reproduction
of
personal peculiarities, the details of hair, skin and so forth.
by the evidence of coins. On these before the tune of Alexander the Great there are but two heads so for as One is a head I know which have any pretensions to be regarded as portraits. x, 1 4, and in a Persian tiara, of which there is a good representation on pi.
The
distinctions here
which was discussed in
drawn
its
place
are fully justified
*l
The head
is
obviously
of a fine
^
Iconograpliie Grecque.
^
Festschrift
zur vierten Seculdr/eier der Univ. Tubingen, 1877,
^
Above,
14:4.
p.
p.
10.
ideal
type
x.
u.
ART AND MYTHOLOGY OF COIN-TYPES.
192
heads
Other bearded
without any impress of personal peculiarities.
Persian
in
by various satraps. They may be intended for the head of a Persian divinity; but more probably they are intended to represent The artist having no the Great King, not as a personage but as an abstraction. idea what the Persian monarch was like would simply reproduce his ideal of tiara occur on coins struck
If the result was better in type than
what a highly born Persian ought to be. the head of the reigning monarch would
At any X. 42.
we have
rate
in these cases
warrant,
strictly
much
so
the better.
no true instance of an individual pre- Alexandrine coin
The other instance of an apparent portrait on a pi. X. No. 42, which for reasons already stated^
portrait.
occurs
on
can scarcely bring myself to
I
admit as the only instance of an individualized portrait at the period.
we
If
and exploits of Alexander we
consider the history
that his contemporaries looked on him as a god.
found a place on the coins issued by his marshals.
xn.
16.
of Zeus
Ammon
raachus,
No.
;
16,
when he appears on the money
so
god that he
as a
is
claimed to be the son
of Ptolemy and
of
Lysi-
the heirs of Alexander's empire contented themselves
all
head
with reproducing the divinized
of their
But towards the year
master.
300 they began themselves to assume a divinity very convenient for purposes
B.C.
And becoming
of state.
own heads on
thek
thus divine, they could
their
money.
Thus we
XII. 19.
Demetrius Poliorcetes as Bacchus, with
XIV.
with the aegis of Zeus, a head of Seleucus
8.
it
he bears the ram's horn which specially belonged to the Libyan
For some time
god^.
And He
wonder
shall hardly
the horn of Dionysus, and with the
And
neck.
bull's
not
have
longer
at
helmeted,
lion-skin
19,
of Heracles
place
of
a head of Ptolemy
xiv.
pi.
to
a head
period
this
No.
horn,
scruple
also
8,
wearing
round
knotted
his
as the kings of the time are assimilated to deities, so their features
are idealized
We
and toned down.
find
scarcely
one
or
two
real
poi^traits
of
the contemporaries of Alexander.
As kings appear XII. 18.
that XI. 27.
XII. 20.
much
so
do their queens in the guise
The head from Ambracia on No.
coins.
Hera
as gods
or Dione, has yet it
is
like
something in
intended at the same time
to
the head of Phthia on coins
goddesses
which one would take
18,
so
it
of
human
that
represent of Pyrrhus,
we may
some queen. pi.
xi.
27.
on
for
that of
fairly
suppose
It
is
indeed
The very
re-
markable head on the coin of Lamia, No. 20, is in all probability intended, as I have elsewhere maintained ^, for the celebrated beauty of the same name as the city. Lamia, the wife of Demetrius Poliorcetes, who was worshipped under the '
Above, It
p.
175.
would seem, as
Mr
Poole informs me, that in doing so Alexander only copied the example set about four centuries earlier by Tirhaka, the Ethiopian king of Egypt, who conquered Libya, and '
whose portrait bears a ram's horn just "
Fu7n. Chron. 1878,
p.
266.
like Alexander's.
PERIOD OF DECLINE, EARLY-HELLAS. name
of Aphrodite
in
various cities
193
and so might well appear on ThessaUan coins of the period. Between her head and that of Demetrius placed next to it there is a remarkable general artistic likeness, indicating that both of Greece,
belong to one period, and to one class of coins. and of No. 20, No. 6.
me
These facts seem to
to
The reverse of No. 19
No.
is
2, xii.
la, 2.
xii. 20,
the thesis of Michaelis from a fresh
illustrate
and to give a reason why the portraits of Alexander and the Diadochi are formed on the lines of earlier rather than of later Greek art. point
of view,
we
In the next period of naturahstic
full
shall
detail.
find
portraits
individual
the last
to
and
degree,
.-...'
~
Asia Minor.
We
pass next
to
the coins of Asia
Minor on
pi.
On
xiii.
No.
from
1,
xni.
Amastris on the Euxine, we have a seated female figure of queenly type. On our coin she wears a Stephanos and holds in one hand a long sceptre, in the other a figure of Victory. should have supposed the deity represented to be
i
.-
We
Hera, but for a variant coin in the collection of M. Six in which she holds in her hand in the place of Victory a small Eros. This coin however also bears not the name of the city but of the Queen Amastris by
whose name
whom
it
was
and
built
would seem then that the seated deity who combines the attributes of Hera and of Aphrodite is really but the deified mortal foundress
whom
bore.
it
It
her subjects in the taste of the time established in a temple and invested
with the attributes of the chief deities of Olympus.
It
would be easy to
c^uote
from history a score of instances of such deification, but the statues in which the
was embodied have usually perished,
idea
Of figure
the more interesting.
is
Zeus-like type are the two figures of Dionysus in our plate, the standing
from Nagidus, No.
god of Nagidus other
so that our coin
cities^
But the wine-cup,
who was the
and the seated
figure
evidently the same nature-deity
is
figure from in
2,
identified
Heraclea
other
is
alternately with
more
evidently a figure of the
new
some older cultus-statue.
On
as
thyrsus,
Zeus and Dionysus, but
he
style placed on the throne
No.
3,
The
4.
found at Tarsus and
is
The god holds
original.
an ivy-bound
from Heraclea, No.
in
of
is
and
pi.
x.
30.
trunk
from Aspendus, we have the old type of the
in
the
slinger,
place
youthful
type
in the attitude
cf
pi.
of legs. x.
" '
x. 30.
;
of
On
No.
5,
No. 10; but his
movement is freer, and in the field is one of those winged male figures which become common in art after the time of Alexander. This figure here is expresG.
2,
one hand his
from Pergamon, we have a close rendering
of an archaic Palladium, with a closed
xiii. '
25
xiii.
i\.
xiii.
5.
x. lo.
g.
ART AND MYTHOLOGY OF COIN-TYPES.
194,
sively introduced
he
;
looking in the direction in which the slinger aims, and
is
distance his attitude expresses his surprise at the xin.
6.
6,
This
a pious device for giving the
is
In the same way Pan
Heracles.
of Antigonus Gonatas, 7.
xiii'i:
xm.
10.
On
No.
it
On No.
was arranged.
from Berytus in Troas,
10,
surmounted by a
we might probably
see
in
name.
of
would
she
If so,
however that the head
a young head wearing
is
considerations of
but in
one of the Cabeiri of Samothrace;
coming as here
be
it
figured
male, and intended
is
youthful type, such as Mithras or Men.
head of the statue of Amastris, No. the head of
whom an
Ephesian
a person too
a foundress,
is
of the period
the hair
;
We one
the
divine
as
foundress.
to
represent
It
is
some
clearly
not
of
arranged in the style
in the
No. is
At an
13
is
is
so
at
well
manner also
of Artemis,
Persian deity
much
the
like
queens
the
of Lysimachus,
idealized
like
This
fortified.
almost
after
all
is
other
as
of
of the
Egyptian
Greek matrons than of
queens, deities
the like
veil
Hera
from Ephesus, and of nearly the same period;
and of a
charming type.
specially
an instance of the
care
-with
which
The expresdetails
are
the earring, which consists of a winged figure, Nike or
earher period ;
suspect
I
have, however, certainly on No. 12,
somewhat
is
which bore
city
yet there clearly seems to be an intention to represent
may mention
bee and stag
which
;
portrait
very pleasing and
rendered I Eros,
is
worn rather
but here the head is
of Arsinoe,
The
coin.
and Demeter. sion
1.
does from
he renamed the city of Ephesus which he enlarged and
portraits
13.
of the
eflfigy
the days of rapid spread of Hellenism the people of Troas would probably rather The head on No, 11 has been regarded as a portrait call it one of the Dioscuri.
her
xm.
an
8
we were guided by
If
star. it
of Amastris, wife of Lysimachus,
XIII. 12.
panic flight of the Gauls from Delphi.
of the
same god from Miletus, on No. 9 a head of Dionysus from Heraclea. These heads are chiefly noteworthy as shewing how the custom of representing the younger members of the Pantheon with long hair returned at this period, after having for a time almost disappeared, and as giving instances of the way in which
origin
11.
to
success
represented as setting up a trophy, on coins
is
memory
in
of the
credit
a head of Apollo from Colophon, on No.
we have
7
a conical pileus
xm.
sent.
is
Timotheus which bears the names of two kings of Heraclea in Pontus, period, Heracles the and Dionysius, offers us a type very clmracteristic of the eponymous deity of the city erecting a trophy, no doubt in memory of some No,
victorious war.
xm.
which the missile
to
we have on the
a later
period
known
only
;
w^e
in
coins of
Ephesus only the symbolical
have the barbarous
the century which
many-breasted
image
began with Alexanders
invasion were Hellenic ideas so prevalent in Asia that even the barbaric deity of
Ephesus appears rately
applied
to
in the
form of the Greek Artemis whose name was so inaccu-
her^. Head, Coinage of E'phesus^ passim.
PERIOD OF DECLINE, EARLY.
The
East.
In plate xiv. we reach a region which indeed issue clearly origin,
display Greek
before
influence,
the
time
and
as
certainly,
to
Alexander,
of
which bears
them by in silence. the Ganges begins to become
trophy, which
The Victory on another
21.
enlarged copy of a type .
important in
but
many
of Alexandei-,
ways.
The
xii.
regards
of Hellenic Seleucidae,
On
art.
of Victory
The
10.
a
1,
on
xiv.
1.
group in merely an
is
3,
;
up a
setting
parallel
Pallas
No.
,
No.
2
is
xi. 21.
xn.io!
XIV
name
the
bears
coin
do not
these
as
coin of Seleucus, No.
pi.
Asia did
most outward respects Hellenic
in
not however very original compared with
is
XI.
Syria and
us.
we may judge from our coins, Hellenic as the name of Seleucus L^ we have a figure
if
pL
new
is
we are restricted to what is But under Alexander and the
I passed
Asia as far as
Sicily,
long
coins
195
of Andragoras,
2
who would
seem to have been a ruler in central Asia early in the third century and is thus interesting as a historical record; but the figure of Pallas is also remarkable. The goddess wears no aegis but is wrapped in a himation, and holds an owl in her extended hand. I am not aware of any figure on extant coins which ;
is
closely
like
this
;
we may however compare
where Athene holds as here an owL
No.
and the king slaying a
works, but of Assyrian mural
Greek really
But
influence.
more
interesting.
this
It
lion
on the
reliefs,
fact,
shews
that
the
in
cities
5,
7,
^-
"•
from Tyre,
xiv.
4,
x.
No.
remind
us
them
scarcely
any trace of makes them
fairly
certain,
Phoenicia
of
5.
on the former
not
do
being
date
his chariot
in
latter
and have
their
pi.
from Sidon, and No.
4,
The king
scarcely properly belong to our subject. coin,
the coin of Side,
of
Greek
were the
last
strongholds of oriental art, and suggests that they held out longest against the
new Greek
But
ideas.
coins
of Alexander were
issued
from Phoenician mints
and in the next age the legends and types of the coins of Sidon and Tyre are alike Hellenic.
On No. profile.
6,
a copper coin of King Seleucus,
would be interesting to trace on coins the
It
time of the grim Gorgon-head of early
full-face
turned into face of rigid
in
reliefs
art,
pi.
i.
6,
a head of
gradual
Medusa
softening
until it becomes milder
in
like
But with the present
the
celebrated
and
piece
Ludovisi relief as well
as
on
several
remarkable
25—2
xiv.
with
we reach an entirely new departure. head could be softened but not made positively beautiful, but when A dying profile it could become quite a new inspiration in art. and fixed beauty is the form in which the head of Medusa appears
not unpleasing.
The
we have
i-
0.
6.
ART AND MYTHOLOGY OF COIN-TYPES.
196
gems; our coin
higher up in the line
is
to judge of other heads of the class. 7.
It
I imagine the earliest of all
is
face
living
datum whence
It gives us therefore a fixed chronological
instead of a dying one.
XIV.
and presents a
of descent,
profile-
from a coin of Andragoras, we have a head of a There is something deity, probably Zeus, but treated in a remarkable manner. yet we trace far more expression oriental about the formahty of hair and beard
On
heads of Medusa.
No.
7,
;
than XIV.
20.
^^*
^'
XIV.
i).
is
to
found in the Zeus-head of Antiochus IV., No. 26. On No. 8 we have a much idealized portrait of Seleucus in helmet of skin, of which I have already spoken; on No. 9 a less ideal portrait of an Indian prince Sophytes^ approach to
it
is
In outward style this prince's head
Greek
Seleucus, but the
10.
XIV. n.
No. 10
character.
who made the we even fancy it
:
the reverse
is
from
closely copied
is
No.
of
that
managed
die
artist
something of individualism XIV.
Perhaps the nearest
Greek works.
be found in Oriental or in earher
of
give
to
suzerain
his
the head
to
to be of Indian rather than
and
9,
bears
name
the
with the type of a cock, also clearly executed by a Greek
Sophytes
of
artist.
Greek
On
No.
11
The turn of the The god has the shoulders and the type of head are distinctly post-Alexandrine. and in this fact we probably gain a clue to the phenomenon horns of a bull
is
a
very
head of Dionysus
of
characteristic
the
period.
;
that bull's horns are attributed
The heads
the period.
and elephants are
of Demetrius
the two kings mentioned
claimed
whom
impersonations
be
to
of Seleucus.
I
am
many
Alexander found so
hence even the animals which ministered to Dionysiac character.
on the
animals
coins
of
and Seleucus are both horned, and horses
horned on the coins
also
Eastern Conqueror of
men and
so freely to
aware
of course
the that
from Dionysus that the Seleucidae claimed descent
in
the great
the East
of Seleucus
and
;
partook of
was from Apollo
it ;
of Dionysus
traces
state
seems likely that
It
and not
and that from the time of
downwards Apollo regularly appears on their coins as protecting deity. But as Apollo is by no means prominent on the money of Seleucus, it would seem that his adoption of that god belongs rather to the later than the
Antiochus
I,
The head
earlier part of his career. XIV.
12.
of the horned horse,
on coins of Seleucus, will be found on No. 12. intended his
hfe
for
Bucephalus, some for Seleucus
by
its
speed of
foot,
merely an oriental rehgious emblem
have been by the
Greeks
connected '
own
writers think that he
horse,
which
had
once
was
saved
and of which a statue was erected at Babylon.
Perhaps preferable to either of these views is
Some
which figures so largely
is
the opinion that the horned horse
and the horns as just suggested may with Dionysus. ;
Num. Chron,
1866,
p.
220.
PERIOD OF DECLINE, EARLY.
]97
Copies of Statues.
To the present period belongs an interesting statue copied on the coin of Tigranes, King of Syria, xv. 32. It represents the city of Antioch wearing a turreted crown, and clad in full drapery. In her hand she holds a palm, and
who swims amid
her feet rest on the river Orontes This
is
the celebrated statue
several copies esist
sions of admiration from
of a large
class
Asiatic cities
;
of
and
Prof Brunn^.
statues is
'
made by Eutychides the
that in the Vatican has
;
It
called
Kilnstkr,
all
i.
own waters
at her feet.
pupil of Lysippus, of which forth
the
strongest
expres-
seems to have become the prototype
which are copied on
indeed in Gr.
his
the
coins
of a
multitude of
respects thoroughly characteristic of its age.
412,
cf.
Overbeck, Flastik,
11.
135.
XY.
32.
CHAPTEE Pee,iod
of Decline
our present period, B.C. 280
With
VII.
— 146,
late.
:
we
We
when the
reach a time
balance
now expect little of interest from the West or even from HeUas proper. But when we turn to Asia and the Hitherto, the types of East, we shall find thia deficiency more than made up. of the Hellenic world
have
coins
is
been useful
entirely shifted.
as
can
works of contemporary
illustrating
sometimes
art,
up blank spaces indeed, but to be taken in conjunction with the statements of ancient writers and fitted into a fairly complete scheme of the growth and development of Greek art. But now we have reached a time when ancient testimonies for the most part fail us, and when the history of Greek art runs filling
Although many monuments of the time remain to our days,
an unknown course.
we cannot even tion
yet, in spite of recent
the widest differences of opmion exist
;
them
discoveries, classify
among savants
to
our satisfac-
as to their date
and
and even their meaning. Under such circumstances the testimony of coins becomes more valuable than ever. Unfortunately their art is at a low level, far origin
below that reached by contemporary sculpture, and especially by paintmg. there
much about them
frequently
is
But these
character.
of a
conventional and
purely
drawbacks notwithstanding, we
may
important data for the reconstruction of the history of Greek in
Asia,
in
pre-Ptoman days,
Indeed there
extracted.
shall be able in
of ore
lie,
my
is
data which as yet have here
a
field
of
brief limits to do little
been
find art,
in
seldom
almost unexplored
heraldic
coins
more
And most
especially
sufiiciently
wealth
;
and
I
more than indicate where the veins
and to exhibit a few specimens to shew what may be expected from
working them.
Italy.
In Italy and Sicily there are few coins of importance of this period. collected XI. 40.
esting
is
some specimens
in the
two
last
rows of pL
xi.
Of
all
the most
I have inter-
that of Locri of which the obverse bears a rude head of Zeus, No. 40,
PERIOD OF DECLINE, LATE—ITALY. and the reverse a group of two female figures, No. 34. armed with a sword and rests her arm on a shield. shews that she
representations of the great conquering city.
female figure
who
inscription
be Good-faith {Uicms).
to
wreath on
a
places
Greece, and
This
a
is
common
same kind as that of Aetolia in
xii.,
pi.
all
The
No. 40.
It
of all
artistic
Rome
stands a draped
shewn by the
is
is
cities
xl34.
is
behind
specimen of a
fair
in
figure
inscription
earliest
and who
head,
a good and dignified composition.
it is
An
In front of
her
groups which were excessively
allegorical
The seated
an impersonation of Rome, one of the
is
199
in
figure of
class
days of
later
R-ome
of
is
of the
evidently to the Greeks xil
40.
Romans were indebted for the artistic embodiment of their city which afterwards became so common and has prevailed in sculpture down to our own that the
day.
That
Rome
does not in our group wear a helmet probably arises from the
incongruity between such a head-covering and the wreath offered by Pistis.
On
what occasion the type was adopted we cannot say for certain it may have been when the Romans, after the complete defeat of Pyrrhus, allowed the people ;
of Locri to retain their autonomy, later alliance
or
it
may
possibly belong to
the time of a
^.
Nos. 35 to 39 are at this time conquered
coins
all
of the
Bruttii, a
most of the Hellenic
barbarous Italian people whoxi.35— 39. of South Italy, and probably
cities
from them gathered a certain amount of civilization and a few ideas as to
art.
Their coins are neatly executed, and the tyes are mostly copied from those used
by Pyrrhus and other Greek
sovereigns.
from that of Thetis bearing
arms
closely,
almost
changed.
charging
the
as
slavishly,
On
No. 35
group
is
reproduced,
In place of the shield of Achilles an
and
arrow,
the
veiled
it
goddess
a group closely copied
on Pyrrhus'
Achilles
to
is
is
its
coin,
meaning a
substitutes
no
No.
longer
small
Thetis,
But
2.
is
xi.
entirely
Eros
but
dis-
,
either
The introduction of the Eros is distinctly characterand his form, rounded and infantile, is of far later istic of the later period type than children of the times of Praxiteles and Scopas. So that while the Aphrodite or Amphitrite.
;
type of Pyrrhus
we seem class
(xi.
2)
may
be taken as representative of the school of Scopas,
in the present coin to reach a subsequent
of subjects
of Poseidon
2,
would venture to
with great diffidence since Prof.
Brunn takes the
that the celebrated relief at
and Amphitrite
is
Munich representing the marriage
far nearer in conception to the Bruttian coua
which would seem to
to that of Pyrrhus, a fact
of treatment of the I
which had been usual with that master.
suggest in passing, although opposite view
method
offer
than
us a hint that the relief
be of the third century and perhaps of Italian origin. The character and forms of the Erotes in it appear to agree better with a later age than with
may
^
^
Overbeck, Kumtmythol.
Munich Academy, 1876,
11.
100.
Philos.-philol Classe, p, 342.
;
2.
ART AND MYTHOLOGY OF COIN-TYPES.
200
These remarks however are a mere suggestion offered to the consideration of those who are more nearly concerned with the Munich relief. As the coins of the Bruttii are almost entirely marine in their types, the seated
that of Scopas.
XL
30.
is
with an
eflSgy,
38,36.
this
deity
No. 39 presents us
but the
effigy
might
as well stand for
Hera
or
Dione, as there
Far more originality belongs to the representathe heads on No. 38 and the tions of the Dioscuri on coins of the Bruttians whole fio'ures on No. 36. These are good specimens of the Italo-Greek art of being very neatly and clearly cut, and having a tasteful appearance, the period is
XL
Of
probably meant for Amphitrite^
goddess
nothino* distinctive about
it.
;
;
but not being marked by vigour or power. It seems strange that the Bruttii should have appropriated the Dioscuri who had been at that time so thoroughly
adopted by the Eomans
but
;
it
probable
is
XI. 37.
XIL2.
from that on the coin of Demetrius Poliorcetes,
cities
of Poseidon on
some common
are derived from
suggests,
these
extreme south of Italy were authorized
of the
by all the by the Eomans. The figure coins being used
Mommsen
as
that,
seems clearly to be copied
No. 37
Xii.
pi.
2,
indeed both
unless
'
original.
Sicily.
was
Sicily
conquest of
B.C.
212, a
kingdom with Syracuse
43.
period,
before
as capital,
the
Etonian
and presents us with
King Hiero and members of his family. On No. 43 is a head of Hiero himself; for so we must rather call it than a traditional likeness of the first Hiero, who would probably regal
of
coins
bearing
have been represented as bearded
and No.
The head
Pericles.
period, XI. 44.
or
shortly
until
our
a regular series
XL
rather
during
and
is
with the
before us quite goes
executed,
of
portraits
contemporaries Miltiades, Themistocles
like his
and has
between male and female portraits
of
far
less
is
usual.
of the
portraits
realistic
The head of Queen
indeed superior to most of them.
44, is less skilfully
difference
excellent
about
realism
Until the
Philistis, it.
This
Eoman Empire
no heads of ladies on coins are quite distinctive^ with the solitary exceptions of XII, 20.
the head of the courtezan Lamia, patra.
It is
of
dread of making them
of
why
20,
and
of that
of
the
great
Cleo-
that the artists had but limited opportunities for studying
likely
the physiognomies
once evident
xii.
pi.
most queens, less
beautiful
and
were
influenced
than utmost
skill
by
a
allowed.
not
And
unnatural it
is
at
to a rule of this kind exceptions should be found in the cases
Lamia and Cleopatra, who were not *
of a character to conceal the
Imhoof-Blumer in OverLeck's Kxinsimyth.
^
ni.
404.
charms they
PERIOD OF DECLINE, LATE—SICILY. The
possessed.
of the
reverses
two numbers
201
mentioned are occupied by
last
which are certainly an improvement on those of thexi. period, and revert in some degree to the variety and energy of the chariot-
chariot-types, Nos. 45, last
46,
groups of the best period,
and 42 belong to the
The driver
vi.
pi.
last three years of
winged Victory.
a
is
On
Syracusan autonomy.
Nos.
No. 42
41 is
45, 4G.
si. 41,42.
a
head of Persephone of carefully finished work, but bearing every mark of the dechne. On No. 41 is a figure of Artemis drawing the bow, a most clumsy and ill- proportioned work, which is only interesting because its place and date can be closely fixed, and because
may
it
claim a
distant cousinship
certain
the Artemis of the Louvre, which though immeasurably superior in
all
to
points to
the figure of the coin yet has indications not dissimilar of period and school.
Hellas.
We
turn next to the coins of Hellas proper on
are coins of cities
nearly
;
No. 34 from Byzantium in the
aplustre,
are
all
of
either
Kingdoms
Of
xii.
pi.
these very few
Poseidon seated on a rock, holding in one hand an
is
made
coin
all
Macedon,
is
is
seated on the bulwarks of
a head of Poseidon, No.
associate Apollo also
Marathus,
pi.
xiv.
41;
but
with naval victory we
There we have
13.
who
it
may
Apollo
^
35.
of
It bears a figure of Apollo
The obverse
a war-galley. that
at
No. 35, a xn.
Antigonus Gonatas and to Antigonus Doson
to
certainly also a record of naval victory.
holdhig a bow, piece
ships which entered the Euxine pay toU to them.
attributed
variously
xii. 34.
This figure symbolizes well the commanding
other his trident.
naval position of the city and the prowess of the people of Byzantium,
one time
On
Federal Unions.
or
is
not
of the
out
of the
way
to
by comjDaring the coin of seated on shields and holding
xii. 41.
see
xiv.
13.
conven- xn.
36.
But the present Apollo reminds us alike by his hair which falls in long formal tresses, by his way of holding the bow, and by the smooth roundaphistre.
ness of his slight form, of the regular type
Apollo seated on the omphalos. result of a
Syrian alliance.
the point of view of
On
xi.
22.
Nike of Alexander's
But
in
any case the group
is
Seleucidae,
may have been not
a
success
36,
we have
a figure of Pallas
of the
and without the refinements introduced by the
On
the Boeotian coin,
an the
from
No.
37,
we have
artist
of
a copy of the
xi. 22.
XII
coin,
No.
10, ^
G,
of the
art.
tional archaic pattern, pi.
coins
Possibly the naval victory
the Thessalian coin, No.
Pyrrhus, in
of the
with a slight difference
See Br, Mus, Guide,
p.
in
the
arrangement xn!
75.
26
37. 10!
ART AND MYTHOLOGY OF COIN-TYPES.
202
of the wings, and the interesting variety that the trophy- stand in the left of the goddess
by a
replaced
is
an attribute in
trident,
keeping
better
AetoHan
piece,
and
period,
No. 38, we have a male figure in the attitude so usual
in the present figure,
which
which
of clothing
is
is
But
poor and warlike race of the Aetolians.
this
and a chlamys
The
armed with spear and sword.
and completeness of armmg would well
at
the
nothing Poseidonian
entirely unclad save for a petasus
is
over the knee, but
lies
But there
especially appropriated to Poseidon.
with
On
the Boeotian types of the period which are almost univei'sally nautical. XII. 38.
hand
scantiness
an impersonation of the
suit
as Aetolia
represented usually in
is
we should probably rather identify our warrior with Meleager the national Aetolian hero. Of Aetolia herself we have a figure on No. 40. She which falls away leaving one breast free is clad in a hat and a short chiton female form,
XII. 40.
(x^rcop irepofjidcrxciko^),
and holds spear and sword.
trumpet, and the shields on a pile of which she
type although one of them
is
Beneath her is
feet is a Gaulish
seated are mostly of Gaulish
round and of distinctly Macedonian pattern.
clear that the allusion here is to the services rendei-ed
Greece by the
to
lians at
the time of the great Gaulish invasions of B.C.
279,
taineers
shamed the more
their
civilized tribes
of Greece
by
It
when
is
Aeto-
these moun-
daring defiance of
the intruders, as well as to the repulse on several occasions of Macedonian inva-
There
sion.
is
a
Aetolia which Pausanias jLceV-^?,
1]
ALTwXta
hrjOev,
creation of the period, XII. 3^.
between
resemblance
close
in
memory
of Gaulish attack.
and a proof that
On
art
No. 39 from
running to the attack probably of some giant
She belongs to
from Pergamon at XII. 50.
XII. 40.
xn.
Yin
i7.
No. 50
Berlin,
we have another
figure
and
that
statue
mentions as set up at Delphi, ywaiKo^ ayaX/^a
^
the ruder parts of Greece.
a torch.
our
the
and
figure
same
may
This then
is
of
wTrXtcr-
distinctly a
was not entirely inactive even in Acarnania, foe,
class
of
be
nearly
we have
and grasping
representations
contemporary
as
in
an
both hands
the
with
Artemis
sculptures
them.
On
of Artemis, from
Cydonia in Crete, but this is a very inferior work; the clumsy pose of the goddess and the enormous size of her torch indicate a late date. No. 49 is also from Crete, from the city of Gortyna; the representation is of a hunter seated, holding in his hand the Cretan bow and arrows. On No. 47 we have a copy of the archaic figure of Zeus which the Messenians set up in their city and of which we have already spoken when discussing the coin pi. viii. No. 25. In my opinion the present figure shews an intention to exactly reproduce an archaic type which is wantinoin case of the earher coin.
although
The
hai^dness of outline
and
stiffness of
pose indicate
must
at the same time be confessed that there are points in our present coin, especially in the rendering of the head, which belong entirely to the decline. The tripod in the field seems to mark locality,
this,
it
and sum up
'
X.
18.
7,
in
PERIOD OF DECLINE, LATE— HELLAS.
203
where the statue of Zeus was set up. No. 48 is from the island of Paros, and represents Demeter fully draped, holding in one hand two ears of corn and in the other a sceptre, seated on the so-called cista mystica, about which not very m,uch is known but that it was connected with brief the sacred spot
the mysteries of Demeter and Dionysus. objects on Asiatic
coins
of this
serpent crawling out of
unknown on piece,
pi.
Among means
it
with a
represented
ordinarily
is
can think only of the Eleusinian copper
I
;
now reached
the
age
many
of
religious
vii. 45, 48.
were in more general favour than public
secret rites
Paros was a seat of Eleusinian mysteries.
festivals.
Poseidon
when
a time
innovations,
however one of the commonest
is
Representations connected with mysteries are almost
it.
but we have
48;
45,
and
time,
coins of earlier period
VII.
It
xii. is.
the
heads
of
this
on the Macedonian
his hair falls in
dank masses
No.
coin,
He
closely resembles Zeus. ;
perhaps the
class
he
Poseidon
41.
in
that of
is
by no
instance
this
crowned with reeds or marine plants
is is
most remarkable
clearly
the
impersonation
than either the eai-th-shaker or the brother of Zeus.
water
of
xii, 4i.
and
;
rather
Indeed we might hesitate
whether the head be not rather of a river-god than of Poseidon;
would
it
far
better suit such figui'es as those of Nile or Tiber, than the figure of the stormy
monarch of the
On
sea.
No,
42
copy of the Alexandrine type No. of Alexander himself.
On
No. 43
is
a head
is
parison with the recently discovered
side in
both
is,
statuette
will
quite different
;
that
it
is
sufficiently
com-
assure this.
Yet
^
;
in
the coin this
is
wanting, but in
its
place,
testimony of numerous coins of other
and gems.
but think that on the whole more
cities,
reliance
cf
pi.
xiii.
be
to
is
27,
on
placed
When
cannot xm.
I
the ;
positive
and
for a
the Greeks copied a large work of art on a smaller scale
they usually simplified the design, but they would not make So in copying on a small scale the
helmet
the
of
Pheidian
it
more complex.
statue
an
artist
might easily omit some of the decoration, but he would not decorate the front with fore-parts of horses unless something of the
^
kind
existed
in
the model.
unlikely that the horses of the original were quite like those of the copy Sphinx and
griffin
II.
p.
1.
by Pausanias, i. 24, 5. But it appears that See Journ, in the statuette and sometimes on coins.
are the decorations mentioned
a winged horse takes the place of the Hell. Stud.
43.
confirmed by the
testimony of our coin than on the negative evidence of the statuette
is
xn.
over
close
is
It
15.
the winged horse appears at the
the forehead are front parts of four horses, and this detail
good reason.
sn.
intended
A
by Pheidias.
xii. 42.
but in the statuette the ornament above the brow takes the
cases,
shape of a Sphinx
late
and only notable as having in it a touch a head of Pallas from a late coin of Athens,
to be a copy of the head of the statue of the Parthenos
is
a
Aetolia,
15,
There can be no doubt, poor and degraded as this head
the decoration of the helmet
from
Heracles
of
griffiji
.
.
26—2
'27.
AKT AND MYTHOLOGY OF COIN-TYPES.
204
rather
it
randum
probable that the horses on the coin are a sort of short-hand
is
have been we cannot xn.
44.
lightly as
Epirus
the Pheidian helmet
of something on
and
Naius
Zeus
Dione,
perhaps the most primitive of
51.
XII. 52.
much
may
all
the
On
coins.
No.
44
Dodonaean Dione is in
original
Hellenic Gods.
heads from-
are
of
pair
Deities
represen-
artistic
and wreath,
and her On No. 51 from Elis we have a gloomy features are of ^ matronly character. and ill-executed head of the Olympian Zeus; on No. 52 from Messene an tation
xn.
our
he does-^ the testimony of
of
something
that
I do not think Michaelis justified in passing so
Still
tell.
and what
;
memo-
Hera
like
;
she
round
wears a
Stephanos
equally unfortunate effigy of Demeter, crowned with corn. xn.
45,
The three heads on Nos.
45,
46,
No.
45,
^
^
46 53.
origin
seems very
different.
Yet their
resemble each other. 53 closely J
from
a
coin
of Philip
of Macedon,
V.
represents a round Macedonian buckler, with a head of the hero Perseus on the
by the harpa with which Medusa on No. 53 was slain. On No. 46 is a head of the Macedonian King Perseus a head of Apollo slightly bearded, with bow and quiver at the shoulder, from Polyrenium in Crete. The head of King Perseus is a portrait and a very
boss wearing winged helmet and accompanied
;
That the other
exact and characteristic one.
but represent
enough
;
men
for ideal
harhatiis Apollo
duced.
ideal
hero Perseus and of Apollo
heads of Perseus and Apollo would be
unbearded
is
portrait either of
appear that the head
PhiHp V.
on
the
or of his son Perseus
shield ;
it
is
is
far
a
types,,
evident
indeed a
;
seems an anomaly under whatever pretence the beard
It would
and
in the likeness of the
two heads are not
is
intro-
sKghtly idealized
more
like
the latter
The Cretan head, No. 53, may perhaps be a more highly idealized portrait of the same prince at an earlier age or it may represent some other person unknown to us. In any case these clear and indubitable instances of clothing men in the attributes of gods and embodying gods in the likeness of distinguished men are interesting, and thoroughly prince,
is
probably
intended
for
him.
characteristic of the period.
Asia Minor,
In Asia Minor, as the rule of the Seleucidae became feebler, most of the great Hellenic cities regained their autonomy, and with it the right of striking coins. The result was the issue of a quantity of large flat silver pieces, bearing characteristic heads of Deities, and full-length figures, in many cases copies of ^
Der Parthenon^
p.
274.
PEKIOD OF DECLINE, LATE—ASIA MINOR statues
of an
Most of these
period.
earlier
to the battle of Magnesia in B.C. Asiatic
Besides
cities.
these
when the Romans gave liberty to many coins, we have from Pergamon, Pontus and
190,
civic
the East, regal series with fine and types
full
On
immediately subsequent
are
issues
205
and with reverse
realistic portraits of rulers,
of mythological interest.
pi.
XIII.
No.
14,
a coin of Prusias
who
standing figure of Zeus,
I.
King
we have
Bithynia,
of
a
xiii. i4.
places a wreath, not on the head of the king indeed,
but instead on his name, a conceit very usual at the period. The attitude of Zeus recurs on coins of various cities of Asia Minor and Syria at this time.
On like
No. 15 from Lampsacus we have a figure of Apollo Citharoedus, which looks a feeble copy of the great work of Scopas, of which extant statues and
coins give us an idea
moving forward
attitude, instead of is
only that on our coin
:
a copy of a statue of Athene
ever
we
we compare shall see,
not
of
this
what
is
God
the
contemplative
On
in a fervour of musical inspiration.
Ilias,
as the inscription fully
representation Avith that, also
indeed evident enough, that
the ancient cultus-statue
a
in
is
in
No. 16
If
testifies.
from Ilium, on
we have
pi.
xv. 13, xv.
case
this
call
it
an
adaptation
because
16.
i3.
a copy it.
what is most characteristic in the original statue the polus on the head and the attributes of spear and distafi*, as weU as the general attitude. But all else, notably the character of head and the arrangement of drapery, is completely changed. In all probability this new statue was set up in the days of Alexander the Great or of AntioThat the remodelling of the type is chus I. who greatly favoured the Ilians. I
xni,
how-
Athene, but of a later adaptation of
of
xiii. is.
preserves
it
;
..
due to a sculptor and not to the artist who engraved our coin is, I think, fairly certain, if we consider the customs followed in this whole class of coins.
On
No.
17
is
an Apollo from Myrina,
hand a laurel-bough bound with a the other a patera the emblem of worship. in one
covered
with
net-work.
This
figure
and himation, holding
fully clad in chiton
is
fillet,
of
At
the
emblem
his
feet
Eastern
is
Greek
of his
purification,
own
style,
much
omphalos,
and may be
as a copy of the Delphic deity
;
for
seated on the omphalos instead
This type
23.
;
;
and arrow.
xv.
indeed
was no statue of Apollo by the omphalos but rather merely to mark the centre of the city, to which all roads converged. It is possible that On No. 19 is this coin of Myrina is copied from a similar statue in that city. but here the god is naked and another Apollo with omphalos from Chalcedon at Delphi there
17.
in
compared with the Apollo of Alexandria Troas, pi. xv. 23, also fully draped, In the centre of the city of Antioch was a statue of Apollo beside an omphalos, placed there apparently not so
xeh.
is
of standing beside
it.
In
his
hands are bow
closely copied from that usual on coins of the Seleucid
Kings of Syria, and may probably have been adopted in consequence of the The Seleucidae themselves however did not political influence of Antiochus IIL
xiii. 19.
ART AND MYTHOLOGY OF COIN-TYPES.
206
originate
Cyprus xni.
20.
XIV. 17.
No.
1 8
a seated Pallas,
is
places a wreath on the
who
of Phile-
Seated statues of this goddess, though not usual at Athens, occur in Asia from early times, as in pi. x. 33, and on coins of LysiOn No. 20 In Asia the great goddesses are usually seated. machus, pi. xii. 12. we have a curious figure of an oriental god. By an oversight I have transa type that should have gone with this. Both coins were issued at Tarsus in Cilicia by Seleucid kings, and both represent the same object; the pjnre annually erected at Tarsus, when there was burnt a figure of the god Sandan^ identified on the one side with the King Sardanapalus, on the ferred to
No.
xiv.,
pi.
other with Heracles;
which
is
we have
17,
—a On
among the Greeks.
remarkable custom, which gave xiy.
pi.
17
we have
not unlike in form to the pyres of
Roman Emperors
The god
it.
but which
Hittite,
as
term Anatolian, on a beast resembling a horned animals and monsters are, as
well known,
is
sculptures of Phrygia and Armenia.
We
among Greek
to take his place
Deities
has come, and he resumes his
is
20
clad in loose
we have
Assyrian pantheon
would be safer merely to Figures mounted on various
met with
frequently
have met at an
and Heroes
outlandish
Sardanapalus
to
regai^d
it
lion.
29 a far more Hellenic rendering of Sardanapalus,
With
on our No.
;
he holds in his hand a bipennis, and stands in a manner which
some would perhaps regard
legends.
strange legends
to
rise
a representation of the entire pyi^e,
only the figure of Sandan which stood on
oriental trousers,
X. 29.
name
king of Pergamon.
taerus,
xiiL
from the money of Nicocles, king of Paphos, in
it
^.
On
18.
but borrowed
it,
form
himself
who ;
but
earlier period,
rock-
on pL x.
there seems almost ready
now
even
on
and
his
here nothing to say;
in the
the oriental reaction
coins
bearing
Greek
with
the
on this subject readers
may
connexion
work LFIercide Assyrien. On the gold coin of we have a most singular compound, a figure of Artemis which
consult Raoul Eochette's learned
xm.
21.^
Erythrae, No.
21,
combines the headdress of the Ephesian Deity and others of her class with the body of an ordinary Greek Artemis, the result being monstrous, although it may very well be a copy of a statue of the time. in the left the pomegranate, XIII. 22.
to
wedded
from
goddesses,
Smyi^na
is
a
and
figure
suits
Homer
Artemis in her Western form. (similar
seated in a meditative attitude and holding all
portraits
of
Homer
shew the manner xnL23. century
B.C.
are the
work
of
coins
of
copper
on his knees
a
bear
a
spear
especially
On
No. 22
his
name)
scroll.
Obviously
mere fancy, but this figure may serve to
which poets were represented in sculpture in the second No. 23, a Bithynian coin bearing the name of Prusias, is a
in
On
Centaur playing a
'
is
the symbol of fruitfulness which belongs
ill
of
In the right hand
lyre.
Somewhat
Brandis, Milnzwesen, pp. 269, 511.
inconsistent
=
with
such
employment
See K. 0. Miiller, Kleine Schriften,
ii.
is
p.
his
100.
PERIOD OF DECLINE, LATE— ASIA MINOR. clothing,
coins
Centaurs are very rare on Greek
consisting of the skin of a wild beast.
occurring on very eai-Jy coins of Thx-ace,
;
Here the
pi.
shew that the Centaur
lyre seems to
207.
iii.
9,
but scarcely elsewhere, m.
who was the
Cheiron,
is
9.
instruc-
tor in music of Achilles.
Some ideal
of the heads on our plate are ideal
heads
are
almost
marked by the same
all
The
the last three are portraits.
;
As
characteristics.
regards
execution they are in low relief but carefully finished and to most modern eyes pleasing
as regards
;
type,
artistic
The
considerable expression.
shew a sloping nose and forehead and of male and female deities is long and
all
hair alike
roUed into a ball at the back. instance of the same type as
No. No.
24
an Artemis from Ephesus, a feebler
is
above:
13,
No.
29
is
head
a
goddess from Magnesia, one of the most pleasing on our plate.
the same
of
xni.
xiii. 29.
25 and 28 xni.
Nos,
a veiled
Smyrna and Myrina respectively, both laureate. On head of Demeter from Chalcedon, a head into which some
thrown,
No.
24.
25,
are heads of Apollo from
No. 26 pathos pi.
is is
XII,
43,
from
27
Heracleia
copy
a
is
Athenian
of the
which reproduce the head of the Parthenos of Pheidias
On
style decidedly superior to them.
but
;
the eflSgy being bearded, which hair falling in formal
deity
crown.
On
No.
Whether we should
nation of the foundress,
is
and to
31
may
it is
or
to
Mr Head^
temple at Cyzicus.
of the
and
veil
;
so.
xin.
31.
earlier,
Smyrna wearing turreted belong to an imperso-
Amazon Smyrna
the
I,
female,
for
with much of
time extremely
this
No. 32 from Cyzicus
certainly
of Attains
as
its
part
is
of
Pergamon, to
necklace
that
plausibility,
does
whom
her
appear
crowned with
a head
a
common
it
is
sons
is
clearly
a portrait erected
a
Certainly the head has the appearance of being copied from
the only thing which
which Queens usually,
replied that Apollonias difficulty is
On
has suggested,
widow
that of a matron
from
were at
Imperial coins of Smyrna
latirel-leaves
of Apollonias,
xni.
Alexanders time, and the
Amazon who was venerated
the
xii. 43.
decide.
easily
with this kind of headdress.
visible.
in
More probable than either is the notion of Cybele who as Mater Sipylene was greatly venerated in the whom a turreted crown would be most appropriate. It is
that on late
serrated
is
27.
be meant for Priapus, the special
a head
true, however, that impersonations of cities also
after
rather consider this head to
Smyrna,
of
city
we cannot
that the head district,
Possibly
curls.
Lampsacus.
of
most unusual
is
coins, xin,
No. 30 from Lampsacus we have an ivy-
crowned head of Dionysus which seems to be a copy of something much
xiii. 26.
is
if
tells
not
against the theory
invariably,
wear.
If
is
to
the absence this
it
be
represented as a goddess rather than as a queen, the
not entirely removed, for those Deities with
be identified, Hera and Demeter, are also veiled.
'
Br. Mus.
Guide,
p.
89.
whom
But the
a queen
would
laurel-wreath
seems
xni.
32.
ART AND MYTHOLOGY OF COIN-TYPES.
208
and
to indicate Artemis;
seem impossible
not
does
it
that
Asia
in
even
a
matron may have been deified in the form of Artemis. The three portraits which close the plate are respectively of Orophernes, XIII. 33^^' Kino' of Cappadocia, of Mithradates IV. of Pontus, ancestor of the great Mith-
and of Prusias
radates,
King
I,;
of Bithynia.
The
We
now
country
the
enter
east
East.
Minor and the
Asia
of
Into this region Hellenism penetrated slowly, and less
Mediterranean.
during the
of Alex-
life
ander and his Generals than in the times of the early Seleucid Kings. four rows of
last
we have
xiv.
pi.
issued
a series of coins
over
an
In the
enormous
and the borders of In some of them we China, mostly during the second century before our aera. have native legends but in all the art is almost purely Greek, shewing how complete was the victory everywhere of Greek customs and civilization over on the
extent of country, from Phoenicia
west to
India
;
of the
those XIV.
On
13.
No.
natives.
13 from Marathus in Phoenicia
of shields, holding
pile
aplustre
was
unusual, and indicate that he
mercantile Divinity, but the type for XIV.
14.
is
supposed to correspond to
of Syria,
is
evidently the
is
attributes
up by the
the
God
are
work
of a
Greek
artist
and
in Phoenician charac-
No. 14, a coin of Ajitiochus IV.
on good grounds supposed to be a copy
is
in
On
226.
B.C.
King
of
Marathus identified with some marine or
the
temple
which was a reproduction of the
Antioch,
The
sceptre.
at
a figm^e of Zeus which
of a statue set
a figure of Apollo seated on a
The date expressed on the coin
the period excellent.
ters
and
is
of
colossus
the of
Daphnaean Apollo at Pheidias
at
Olympiad.
But unfortunately the type of the coin is too conventional to give us any valuable information; for that we must turn to the coin of Elis, pi. xv. 19, of XIV.
15.
which
have above spoken.
I
have an leg
is
allegorical figure
formed
like
of
On
Tyche
Victory 2,
a
No. 15, a coin of Demetrius
I.
of Syria,
we
Fortuna sitting on a throne of which the and holding sceptre and cornucopiae. Tyche or
might be the genius of a city or a country, but I conjecture that here she is the Fortune of the King Demetrius as in that case the sceptre would be specially
^
AmmianiTS Hes Gestae
'
It
device.
is
usually term o J
1.
a
xsil.
c.
13.
^yinged Siren, but
in
that
case
there
seems to be no meaning in the
PERIOD OF DECLINE, LATE— THE EAST.
20a
She would be an embodiment of the destiny, the star, as we should the King, and as his representative receive sacrifices and honours at
appropriate. say, of
On
Antioch.
No. 16, which
a Parthian coin of the reign of the great Parthian
is
conqueror Mithradates, dated
B.C.
holding wine-cup and club.
It
of the barbarous Parthians.
But
xiv.
le.
No. 18 whicli
xiv.
17.
remarkable archaic simulacrum
xiv.
is.
xiv.
19.
xiv.
21.
we have a
140,
may
Greek Heracles,
figure of the
some readers to find a Greek legend containing the words Arsaces Philhellen, and a Greek Divinity on coins principle of the policy
was, as I have shewn elsewhere \ a cardinal
of the Parthians to figure as protectors of the Greek cities
and to use Greek
in their dominions,
Of No.
dominion.
it
astonish
and
skill
17 from Tarsus I have
already
belongs to the reign of Demetrius Nicator of Pallas holding a spear.
On
either
instead of covering her breast falls
the face of lacra all
;
stiffly
It
does not appear that
brought by Greek
our type
coin deserves a
now
head
down her
pass
more
still
]
we have is
a
copied
Macedon an embodiment
careful study
further east.
than
it
On a
is
star
the
;
aegis
This figure bears on
back.
and other
Anatolian
simu-
yet helmet spear and aegis are
from
colonists
Syrian city, and there accepted as
We
a
of her
the stars also bespeak a nature-goddess
rather I should imagine that
The
is
perpetuate their
to
spoken^.
a likeness to the Ephesian Artemis,
it
present.
Pallas
side
civilization
copy
from
of
some
or
from
of
some
the
archaic
statue
Minor
Asia local
Athene,
Ilian
female
to
of
a
deity.
has yet received.
Nos. 19 to 25 of our plate were
all
struck
Cabul and the Panjab, and furnish us with conclusive and interesting proof that the art of India was largely affected by that of the Greek invaders of the in
north, while
on the other hand the art of the Greek conquerors was gradually
and customs, which appear more and until we reach types which are more strongly on the coins as years go by neither Greek nor Indian, but contain elements borrowed from both nationalities. warped by the
pressvire
of Indian
beliefs
;
Nos. 19, 21, 22, 23 which bear the names of the Graeco-Indian Kings Agathocles,
Antimachus, Euthydemus and Eucratides respectively, belong to the the second
century
standing, holding in
torch in each hand.
half of
and are almost purely Greek. On No. 19 is a Zeus his hand an archaic figure of Artemis or Hecate with a The figure of Zeus is facing, and in an attitude almost
B.C.,
universal on coins of these kings, cf Nos. of the
first
body thrown on
to one
foot,
21, 22, that is to say
and stooping
for
ease
:
with the weight
an attitude indeed
which seems to betray special influence in Asia of the School of Praxiteles. In On No. 21 is India, scarcely any Greek Deity but Zeus is depicted as seated. a standing Poseidon, holding trident and palm bound with fillet, a type probably commemorative of a naval victory
^
G.
won by King Antimachus, which must
The Parthian Coinage; Introduction.
^
p.
206.
27
ART AND MYTHOLOGY OF COIN-TYPES.
210
however have been fought on the river Indus, as this King did not extend his His name is not mentioned in history, but from his rule to the Indian ocean. coins we can recover his date, the hmits of his dominions and even some of the
XIV.
22.
events of his
reio-n.
are history.
On
a very
but in North India they
history;
holding
of Heracles,
figure
slight
in
other an ivy-wreath, and bearing a second
in the
skin,
lion's
ilhtstrate
Greek Divinities Heracles and Dionysus seem to have been most readily accepted by the people of the Cabul and Indus valleys who possibly identified them with their own Krishna and Soma. On No. 23 ivy- wreath
23.
we have
No. 22
one hand club and
XIV.
In Hellas coins
Of
on his head.
all
are the Dioscuri, the Ajvins of the Indians,
Here again
the palm of victory.
clearly
is
charging on horseback, each bearing
an
allusion
to
a
successful
battle,
probably one the success of which was due to cavalry. XIV.
20.
shew more of Indian influence. No. 20 bears in Indian letters the name of a King Antialcides. Its type is a seated Zeus, on whose hand stands a Victory who bears a palm and Nos. 20,
25
24,
are
somewhat
of
holds out a wreath to an elephant, this
is
later
who
his
lifts
and
date,
trunk to receive
a memorial of a victory due to elephants.
No
it.
doubt
should be mentioned, as a
It
very unusual thing, that Zeus here wears a chiton over his breast as well as his xiv^24,
usual himation round the loins. coin,
which
is
Nos.
24,
25 are two sides of the
of the square shape peculiar to India, that
a plate instead of being cast as a round blank.
is
to
same copper
say,
cut out of
was struck by one of the Scythian invaders who conquered the Greeks in the first century B.C., by name Maues. On the obverse is a seated Zeus, by whose side in place of the thun^ derbolt which we should expect, and which we find on similar coins of eaiiier kings, we see a male figure, evidently an impersonation of the thunderbolt which is
indeed not entirely transmuted
head and at his
On
This
sides.
the reverse of the
is
25,
venture to assign a Greek name, crown,
and
is
In her dress however there
At
point
this
interesting
as
of
Hindu
Hellenic
The bust
27.
tration as XIV.
26.
of
the
who holds a veil
busts
whom we
sceptre
more
and
closely
wears about
can
scarcely
a
turreted
her
bosom.
no trace of anything non-Hellenic.
coins
elements:
of Eros
figures
but
which have
scarcely
art
in
until
we must stop, we reached on
them only
a
small
pro-
the subject deserves a special study and
treatise.
from a vSyrian
increasing
of
line
youthfulness
coin.
No.
of the
an early instance of the substitution of
sculpture
over his
the transmutation of Greek to Indian art
in
might occupy a separate XIV.
is
appears
partly
a goddess to
would be to descend the
it
Indo-Scythic and portion
is
drawing a
the act of
in
but
form,
his
a very interesting invention of the Indo-Greeks.
No.
coin.
into
It
appear until the
27,
god busts
period
is
the present period;
in for
of
introduced as an
heads.
decline.
illus-
also
On coins as On No. 26 is
in
a
PERIOD OF DECLINE, LATE— THE EAST. head of Zeus from a coin of Antiochus IV. really
part,
it
a portrait
is
but the head
;
of Zeus only in
is
Antiochus under the guise
of
be seen on comparing
easily
211
with the portrait on his other
it
Zeus,
of
may
as
Certainly
coins.
the addition of a beard, not worn by Greek kings of the time, gives an altered look to the head, and there it
is
in the
main a
in
is
portrait
a fresh accession of dignity.
it
we should
;
Nevertheless
err in supposing it to be a
copy of the
head of the statue of the Olympian Zeus set up by Antiochus. In contrast to this instance where the human head is altered in order to suit divinity we may cite No. 28, where a portrait of Antiochus II. is turned into a head of Hermes
by the addition
slight modification of the features as well as
by a
Next
a
follow
series
No. 30 of Ptolemy
II.
of
ordinary
of
Egypt and
No. 29 of Antiochus
portraits,
custom
come three wonderful heads of Greek kings of
India,
No. 33 of Euthydemus IL, No. 34 of Eucratides.
The
*^
,
machus seems 3
—
and
5
xii.
40
;
and the
of
his
country.
No.
32
of
Antimachus,
hat worn by Anti^
flat
helmet worn
Greek petasus,
by Eucratides
cf.
seems
vii.
pi.
an
be
to
imitation of the same head-covering in metal, adorned with the horn and ear of
a
These portraits impress by their realism alike those
bull.
skill its
Greek
unacquainted with
those
art.
most marked characteristic
Their
the
is
with which the engravers seize the most salient features of a face and give In some instances, such as the head of Antiochus
characteristic expression.
XIV.
29,
we can
bring
scarcely
ourselves to think
exaggerated the peculiarities of the subject, almost
The
and
with
familiar
portraits of the age are thus striking
rather imitate that which
personage of the portraiture the
venture
ruler
field
who
of a
that
say
to
is
and
I.
that the engraver has not to
the
distinctive,
verge
but we
of caricature.
that they
feel
on the surface than afford us any idea of the real is
coin
portrayed. offers
numismatic
Of course
but scanty
for
scope.
testimony confirms
the
highest
kind of
Nevertheless
we may
the
opinion
by
derived
Michaelis from the study of likenesses in marble, that the portraits of the Hellenistic
age do not avoid the faults of superficiality and
which mark generally the sculpture of that age. case of portraits less glaring
accompanies them vexes
few
the
brighter days
P.S.
is
pleasing to eyes trained
who have of Greek
the French Collection. in
B.C.
a
genuine
love
;
of theatrical
those faults are in the
and the
close realism
by modern works of for
the
effect
products
and only
art,
of
which
and
earlier
art.
The decadrachm
Agrigentum
and more pardonable
Only,
love
Its
406.
of Agrigentum,
engraved
on
the
title-page,
is
in
date must be immediately before the destruction of
The
obverse-type,
two
eagles
devouring
a
^J^
29,
xiv. 3i.
Next
,
to be a slight modification of the north
pi.
old,
and wife Arsinoe, No. 31 of the
his sister
Parthian Mithradates, bearded according to the
.
when
I.
28.
wing.
a
of
xiv.
hare,
27—2
is
xiv.
32.
xiv. 33. XIV. 34.
ART AND MYTHOLOGY OF COIN-TYPES.
212
The
explained at page 130.
turning the meta, and
somewhat bold victory,
may won on
so
off
reverse
Over
it
flies
is ;
represented in the act of
an attempt at perspective
the frequent symbol of agonistic
a serpent, which here takes the place of the more
The crab below
indicate
of the
somewhat foreshortened
the period.
an eagle bearing
usual Nike. it
for
is
chariot
is
the civic emblem of Agrigentum, unless indeed
the fact that the agonistic victory which inspired the coin was
the shore of the sea.
INDEX OF SUBJECTS.
'
[The references are to the Plates; further reference from Plates to
may
text
be made by
easily
means of the Table of Contents.]
THE OLYMPIAN ZEUS.
I.
Amphitrite on sea-horse,
Zeus, VIIL 42; X. 9; XIIL 14; XIV. 20, 24 Zeus Olympius, HI. 15, 16, 41, 43; XII. 1, 23; XIV. 14;
XV.
DEITIES.
Amphitrite,
Head
XII. 47
;
XIL
Zeus holding Hecate, XIV. 19
Demeter,
Demeter, Head
XV.
of,
1
XIL
Zeus Velchanus, IX. 7 Zeus Stratius, X. 22 Zeus Stratius, Simulacrum
Head o^
V. 14, 40
XL
;
6,
of,
XV.
DEMETER.
IV.
Zeus, Simulacrum
IX. 21
35
39 [See also Taras, Horse, Bull]
19
Zeus Ithomates, VIII. 25 Zeus Soter, II. 1
Zeus,
XL
XL
of,
9
VII. 29, 33 VIII. 6, 2G, 37 XII. 40; 14, 17, 25, 51 XIV. 7, 26 ;
;
;
Zeus Olympius, Head of, XV. 18 Zeus Dodonaeus, Head of, V. 37, 38, 39 Zeus Eleutherius, Head of, VI. 37 Zeus Hellenius, Head of, XI. 25
;
52;
48
VIIL
VII. 47;
of,
XIIL
X. 41,45
28, 41
26
Persephone, IX. 5 Persephone rising from the earth, X. 25 Persephone, Head of, VI. 19; VII. 46;
XL
15, 16, 28,
29,31, 32, 42; XIL 29 Despoena, Head of, HI. 50 [See also Pig on torch, Cista mystica.]
XI. 7
Triptolemus, VII. 45
Zeus and Dione, Heads of, XII. 44 Head of, XII. 18 Zeus Ammon, IX. 31, 32, 33, 34
APOLLO.
V.
Dione,
Apollo,
Ammon, Head of. III. 49; IV. 33; Ammon, Young, Head of, XII. 30, 31 Zeus
Europa on bull. III. 17 Europa seated in tree, IX.
18, 19,
IX. 26, 27, 28
Apollo Didymaeus,
Head
HERA.
V. 42, 43
of,
Apollo and genius,
13,
14, 15,
XIL
I.
2,
14, 15;
2, 3, 5, 22,
VI. 39
21
XIV.
13
tree,
IX.
15,
16
Apollo and Artemis in quadriga,
V. 5; VII. 2;
XIV.
VIIL 33
shields,
oii
Apollo seated on prow, XII. 35
POSEIDON.
24, 34;
15, 16
3
I. 1
Apollo with serpent,
Apollo,
Poseidon
I.
Apollo with horses of the sun, X. 3
Apollo seated in
HI.
XV.
Apollo slaying Python, V. 7
Apollo seated ;
XV.
Apollo Hyacinthius,
39,40; IX. 23; XII. 26
Lacinia,
17, 19;
Apollo Pythius, VII. 44; XV. 26 Apollo Smintheus, XV. 23
Hera of Chalcis, XV. 27 Hera Samia, Simulacrum of, XV. 5 Hera, Head of, HI. 25, 38; V. 45; VIII. 29,
XIIL
IX. 12; X. 23;
Apollo Delius, XV. 29
20
[See also Nike, Eagle, Thunderbolt.]
Hera
13, 16;
Apollo Amyclaeus, XV. 28 Apollo Citharoedus, XIIL 15
Thunderbolt personified, XIV. 24
11.
L
31
;
IX. 2
XVI.
;
2,
XL 17
37;
Head
of,
II. 23, 24, 25,
37; V. 15, 16; VI. 26, 28;
XIL
9,
II.
30;
10, 16;
VIIL 8, 10; X. 53; XIIL 7, 8,
36
;
VL
24
III. 36;
VIL
IV. 35,
10, 11, 12, 13,
15, 16, 36, 37,
XVL
44;
XL
8,
Poseidon receiving Taras, V. 28
9;
Poseidon Hippius, III, 3
[See also Raven, Stag, Swan, Griffin, Rose, Lyre,
Poseidon,
Head
of,
XIL
;
41
IX. 3
Tripod.]
25, 28;
4,
5
INDEX OF SUBJECTS.
214
Artemis, HI. 31
XI. 41
;
XIL
;
Ares,
50
39,
ARES.
VIII.
ARTEMIS.
VI.
Head
IV. 36
of,
II. 36; VI. 24 VII. 37; VIII. 38; XIII. 13, 24, 29
VII. 10, 30, 31
;
;
XL
24
Artemis in chariot with Apollo,
Head
Artemis,
of,
XV.
Artemis, archaic,
APHRODITE.
IX.
14
Artemis, Oriental, XIII. 21
XV.
;
3,
Aphrodite Cnidia, XV. 21
4
Aphrodite Corinthia, XV. 25
[See also Bee.]
XIL
13
Aphrodite, Simulacrum
of,
Aphrodite Urania,
XV.
10
Aphrodite, Lycian, X. 34
Head
Aphrodite,
VIII. 16, 17, 18
of,
Aphrodite Cnidia, Head
PALLAS.
VII. Pallas,
IIL 44; X.
4;
II.
XIV.
18;
Aphrodite Paphia, Head XII. 12; XIII.
28, 33;
7,
2
Athene Ilias, XIIL 16; XV. Athene Parthenos, XV. 22
Head
of,
XL
XV. 17 Head
Pallas,
V.
I.
31,
20, 21,
XL
32; IIL
3;
XIV. 18;
XIL
VIL
12, 13;
18; VIII. 11,
XVI.
27, 28;
12, 18, 19,
22
Athene Parthenos, Head [See also
of,
XIL
43;
XIIL 27
IL
5;
Hermes and young Dionysus, VIII.
Head
of,
2
II. 5,
Head
of,
XV.
of,
VL
of,
Satyr surprising nymph, III. Satyr,
Head
of,
Head
of,
VIII. 7
HECATE.
IIL
11
14; VII.
8,
24, 25;
Hecate in hand of Zeus, XIV. 19 Hecate, Head of, VIL 36
12 11
The
VL
1, 2,
DIOSCURI.
IV.
X. 43
[See also Bull, Man-headed.]
Satyr drinking, IL 20; IIL 34; Satyr bathing, IL 18; VL 2
Asclepius of Epidaurus, XII. 21 Hygieia, IX. 5
XV. XIV.
Head
XIIL
Asclepius,
of,
horned,
Dionysus, Dimorphous,
22;
ASCLEPIUS.
IL
IV. 25; IX. 4;
III. 29;
;
IX. 22; XIIL 9,30 Dionysus, Lesbian, Head Dionysus,
31
DEITIES.
DIONYSUS.
2,4 Dionysus on panther, IX. 6 Dionysus seated in tree, X. 35 Dionysus, Lesbian, Simulacrum Dionysus,
IX. 13, 14;
[See also Goat.]
L I.
VIII. 36, 43;
Hermes, Simidacrura of, XIL 9 Hermes, Head of, IIL 35; VII. 9 Hermes and Aphrodite, X. 31
OwL]
OTHER
Dionysus,
IV. 27;
III. 7;
XV. 24
20, 21, 22, 23, 37, 51
44; VI. 40;
17, 18, 19, 41,
42,43;
XIIL
36;
Hermes, of,
HERMES.
X.
XIL
22;
X. 47, 48, 49
XIV. 27
Pallas in chariot, VI. 27 Pallas, archaic,
of,
Aphrodite and Eros, VI. 3 Eros riding on dolphin, XIL 27 Eros,
13
7,
XV. 20
of,
G
Dioscuri,
Dioscuri,
XL
Heads
36; XIV. 23
of the,
38
SEA DEITIES.
V.
28
XL
IIL 19 Triton or Glaucus, IX.
Silenus on ass, VII. 7
1
Pan, VII I. 32
Pan, Head
of, II.
42;
VIL
34
[See also Syrinx.]
Centaur,
XIIL 23
Centaur carrying off woman, IIL 9 Maenad, Head of, X. 39, 40
Arethusa,
VL RIVERS AND LAKES. Head of, IL 6, 7, 26, 27, 28; VL
21, 22,
23
Camarina riding on swan, VI. Crathis, sacrificing,
I.
17
7
17, 18, 20,
INDEX OF SUBJECTS. Head of, VI. 11, 38 Himera sacrificing, 11. 18 YI. Hipparis, Head of, VI. 13 Hypsas sacrificing, 11. 16 Gelas,
;
Selinus sacrificing, II. 15; YI.
Nike Nike Nike Nike Nike
2
1
Kiver-god Orontes under feet of City, XA^. 32
Nike,
River-god hunting, YI. 4 [See also
Apteros,
23
I.
carrying tropliy,
Man-headed
21
XIY.
;
1
Head
IL 29; Y. 22; YIL 16
of,
Bull,
Pistis, XL 34 Tyche, XIY. 15, 25
LOCAL DAEMONS.
IX.
Minotaur, III. 18 Scylla, on helmet of Pallas, Y. 17, 18, 44;
YIII. 27
of,
Head of, I. 29 Head of, XL 27
Daemon, Winged, IIL 8; lY.
Roma crowned by
Pistis,
Taras on dolphin,
I. 4,
XI. 34
22; Y.
4, 30,
31
XL
;
XIIL
24;
20,
5
ORIENTAL DEITIES.
X.
Aphrodite, Oriental, X. 34
Taras welcomed by Poseidon, Y. 28
Aphrodite, Oriental,
Head of, I. 9 Terina, Head of, Y. 20, 23 Tyche Antiocheia, XY. 32 Nymph, Head of, I. 7, 8,
Astarte,
Taras,
XIL
12,
5
Taras playing with panther's cub, Y. 3
IIL 24; Y. 21; YII.
XL
Tales, IX. 9
Pandosia,
Simulacrum
Head of, X. of, XY. 2
48, 49
Baal Tars, X. 30
Head of, lY. 5 Head of, X. 38 XIIL Cybele, Simulacrum of, XY. 6 Cybele, Head of, XIIL 31 Bes,
25, 26, 27, 28, 30; 15,
17,
31;
11.
XL
35; X. 46;
11,
32
Cabeirus,
;
10
,
Hormuzd, X. 8 YIII.
Melkarth, lY. 21, 22
ALLEGORICAL FIGURES.
Men, Head Eirene, Y. 11
of,
XIIL
11
Sardanapalus, X. 29
Nemesis of Rhamnus, X. 27 L 24; IL 3, 17, 21; IIL 33; YIIL 3,4; X. 2; XIL
Nike,
Sardanapalus standing on monster, lY. 30; Y.
14, 42; 10,
37;
XI Y.
13,
3
XIIL
20
Pyre of Sardanapalus, XIY. 17 Oriental simulacra of various deities,
XY.
1
— 13
HEROIC CYCLE. HERACLES.
I.
Heracles, IIL 45, 46;
XL
1;
Heracles,
Man-
headed.]
;
Olympia, Head
14;
XL
on prow, XII. 4
Bull, Bull.]
Rhegium, I. 18 Y. 1 of Tarentum, I. 19, 20, 21 Histiaea seated on ship, XII. 11 of
Phthia,
23
playing with bird, Y. 12
Aetoha, XII. 40
Demos Demos
XL
erecting trophy, X. 24;
[See also Agonistic types, Chariot;
PERSONIFICATIONS OF PLACES.
YII.
215
XIL
Head
lY.
19,
21,
XIY. 16, 22 IIL 10; lY. 38;
Heracles erecting trophy, 22, 23;
YL
36;
Heracles, archaic,
8;
6, of,
YL
;
Heracles strangling
Y.
lion,
6,
32
;
YL
8
XY.
YIL
12, 15;
14,32; XL 26; XIL 15,42 Heracles strangling serpents, IIL 48; Y. 10; YIII. 1 XYL 6, 7, 8
23;
Protesilaus,
XIL
8
TROJAN WAR.
IL
YIL
XIIL 6
Heracles and Sardanapalus, X. 29
7
Thetis carrying arms to Achilles,
XL
Diomedea carrying
YIIL
off
Palladium,
Heracles slaying birds, >Stymphalian bird,
YIIL 34 Head of a, YIII. 44
Head of, XL 10 Aeneas, Head of, IIL 11, 39 Ajax Oileus,
Heracles shooting,
YIL
YIL
22,
43
1
III.
Heracles striking bull, IL 17 Heracles wrestling with Achelous, lY. ofi'
35
Achilles,
Heracles slaying hydra, IX. 7
Heracles carrying
2
tripod,
IIL 47
Heracles feasting, Y. 29
Heracles reposing, IX. 8 Heracles with lustral bough, Y. 2
1
SOLAR HEROES.
Bellerophon on Pegasus, Pegasus, III. 26;
YIIL
YIIL 19;
5
XYL
Head of, XIL 45 Gorgon, L 6 Gorgon, Head of, YII. 19; XIY. Perseus,
6
20, 21, 22
13
INDEX OF SUBJECTS.
216
Head of, VIII. 9 Head of, VIII. 12
Cephalus,
LOCAL HEROES.
IV.
Procris,
VL
35
Apteras, IX. 11
Leucaspis,
Cecrops, X. 1
Meleager,
Cephalus, YIII. 2
Miletus suckled by wolf, IX.
XIL
5,
38
HISTORICAL PERSONS. I.
Head of, XIII. 32 Head of, XIII. 12 Demetrius Poliorcetes, Head of, XII. 19 Eucratides, Head of, XIV. 34 Euthydemus II., Head of, XIV. 33 Hiero II., Head of, XL 43 Lamia, Head of, XII. 20 Mithradates IV., Head of, XIII. 34 Mithradates of Piirtbia, Head of, XIV. 31 Orophernes, Head of, XIII. 33 Perseus, King, Head of, XIL 45, 46 Philistis, Head of, XL 44 Prusias L, Head of, XIII. 35 Ptolemy 11. and Arsinoe, Heads of, XIV. 30 Seleucus I., Head of, XIV. 8 Sophytes, Head of, XIV. 9 Apollonias,
PRE-ALEXANDRINE.
Arsinoe,
Harmodius and Aristogeiton, X. 4 Homer, XIII. 22 King of Persia, X. 32 King of Persia, Head of, X. 14 King in chariot, XIV. 4 King slaying lion, XIV. 5
11.
;
XV. 30
POST-ALEXANDRINE PORTRAITS.
Alexander,
Head
of,
XII. 16
Amastris, Queen, XIII.
1
Antimachus, Head of, XIV. 32 Antiochus L, Head of, XIV. 20 Antiochus II., Head of, XIV. 28
EVENTS OF
LIFE.
AGONISTIC TYPES.
I.
PEACE.
III.
Boxers, IV. 31
Hunter, Cretan,
Discobolus, III. 30; IV. 28
Hero taming bull, III. 32, 33 Hero driving oxen, III. 4 Women holding amphora, III. 6
AVrestlers,
X
1
.
Horseman, unarmed, IL
VIL
Horseman crowning Chariot, II. 9
;
XL
horse,
VIL
Arms
of
32; V. 34, 35;
2,
Woodmen
XL
3,
35; VI. 25,
XVI.
Bee, Bull,
VL
XL
28; IX. 35;
45 40
XV. 6
ANIMALS.
Bull, II.
37
VI. 30
;
7
L 11,34; IV.
XVI.
38
VL
felling tree,
4
II. 10, 32, 33, 34,
mules crowned by Nike,
((!^Xa),
49
IV.
26, 27, 28, 29 Chariot driven by Nilce,
Riga,
38; IV.
30
Chariot crowned by Nike,
Apene
11,
39; IX. 36; X. 12
XIL
Head
of,
Cock, IL 13; Cow suckling Crab,
WAR.
XVI.
13, 14, 15
VL
32,
XIV. 10; XVI. 3, 23 XVI. 23, 24, 25 34; XVI. 3 calf,
human VIIL 12
Crab, in form of Warrior, IV. 29; X. 26 Wan-ior, Head of, IV. 34
Crane, IL 16;
Slinger, X. 10; XIII. 5 '
Yll.
3, 4, 5,
6
face,
VL
34
L 12, 36; IL 41 III. 52; IV. 11 Eagle on branch, V. 25 Eagle tearing hare, VI. 33; XL 17 Eagle,
Archer, IX, 10; X. 5
Horseman, armed, IL 12; 111.5; IV 26'
V
36-
8 9 '
XL
Chamaeleon, IX. 30
25
II.
12; V. 24; IX. 24; X. 19;
1,2, 16, 17, 18, 19
'
'
Eagles,
;
Two, tearing hare,
VL
'
Eagle devouring ram,
VIIL
21
31
;
VIIL 30
20;
INDEX OF SUBJECTS. Eagle tearing serpent, VIII. 22
Head
Eagle,
of,
VII. 42; XVI.
Griffin,
VIII. 23
217
Horned
9,
10
XIV. XVI. 8
horse's head,
Fish, YI. 32
Sea-horse,
Goat, III. 12, 40
Sphinx, IV.
Hare,
Monstrous combination, IV.
II.
Horse,
42; VI. 31,33
VIL
40;
XL
XL
2;
40; X. 13, 21, 34
6,
NATURAL
VI.
33; IV. 15, 39, 43; XVI. 5 Lion slaying bull. III. 13; VII. 20
Acorn,
Lion tearing
Corn, Ear
stag,
Head
of,
XI. 18
&o.
Locust,
6, 13, 14,
35
I.
V. 27
of,
Rose, X. 21
III. 27; IV.
X. 20; XVI,
16, 1^
V. 26;
15
XVI. 10
Owl, III. 53
VIL
41;
Silphium, III. 27; IX. 29, 30 Floral pattern, XVI. 24, 25 Amphora, VIL 27 Helmet and mask, IV. 3
Pig on torch, VII. 48
Lyre, VII. 21
Prawn, VI. 16, 34 Ram, IX. 34; XV. 24 Eaven, X. 6
Cista mystica,
Syrinx,
Seal, IV. 7
Sacred
Sow, IV. 10
Thunderbolt, VIII. 24;
Stag,
OLJECTS,
I.
Lion tearing prey, XVI. 11 Lion,
13, 14, 41
33
Jerboa, IX. 30
Lion,
1
L 1,13;
IV.
8,
11.
Temple, XV.
18
Tripod,
XI I. 48
42
car,
1, 3,
XV.
XVI.
24, 25,
26
2
XVL
4
1
Acropohs of Corinth, XV. 25 Harbour of Zancle, 11. 14
Swan, X. 50
V.
MONSTEES. VIL
ASTRONOMICAL SYMBOLS.
Boar, Winged, IV. 44 Bull,
Man-headed,
Man-headed
bull
I. 10, 35; 11. 8, 39, 40 crowned by Nike, XI. 19
Chimaera, IV. 9; VIII. 20
G.
Lion and
star, XA^I. 5
Lion and triquetra of
legs,
lY.
3l^
Triquetra of cook's heads, TV. 42
28
CLASSIFICATION OF GREEK COINS.
I.
600—479
Age
11.
479__431
Rise of Athens
III.
431—371
Peloponne.siau
371—335
V.
j
335—280
War—
(
Hegemonyj!
—
Theban Hegemony Philip of Macedon
)
j
Alexander and the Dia-/ dochi
I
VI.
Italy
of the Despots
Spartan IV.
Xorth
Political Character
Date B.C.
Period
280—146
j
The Epigoni Federal Systems
} .
.
.
j
Caution. with
The surface of
any metallic
marks.
substance,
the
as
Plates
the
touch
must
not
he
touched;
of metal leaves
on
more them
especially
permanent
^KIMED BY
C.
J.
CLAY, M.A.
AND
AT THE UNIYEUSITY PRESS.
SON",
PLATE
CI.
2
Caul on i a
Ohv.
KAYAO
Rev.
Bach
Apollo striking with bought a small figure on his outstretched arm.
retrograde.
same
of the
I.
550—
Ohv. Poseidon, clad in chlamys, striking with trident.
Tarentum
Ohv.
TAPAI!
retrogr.
Apollo kneeling, holds flower and
\Obv.
TAPAZ
retrogr.
Taras riding on dolphin through sea indicated by a shell
\[Rev The other side of the same devices, 5
Uncertain city
Ohv.
XEP.
6
Etruria
Ohv.
Gorgon running, clad
7
Yelia
Oho.
431
;
Cumae
Ohv.
9
Tarentum
Ohv.
10
Laus
Ohv.
Man-headed
11
Sybaris
Ohv.
lY
12
Croton
[Ohv.
13
Oaulonia
14
Poseidonia
16*
))
Metapontum
17
Pandusia
18
Eliegium
19
Tarentum
bull (river-god
retrogr.
9P0
Bull.
Tripod.]
retrogr.
Ohv. No. 29.
TAPAS.
[Rev.
retrogr.
22
[Ohv.
Head
[Ohv.
T E P N A.
))
Ohv.
Oho.
28
iletapontum
Ohv.
29
Pandosia
Ohv.
30
Terina
Ohv.
31
Sybaris
Ohv.
32
Thuriimi
\Ohv. [[Rev.
Rev.
Head Head Head
of of
of Pallas,
GOYPIAN.
[Rev. Similar to last.]
I
olive-bough
;
type in wreath.
helmet bound with ivy
Rev. Lion at
Ohv. No. 31.
Rev.
AA
retrogr.
;
Rev. No. 24. 34.
behind, the letter H.
Bull walkh.g; below, helmet.]
Ohv. No. 27.
Ohv.
and wine-cup.
and staff". [Rev. Similar to last.] Taras riding on dolphin through sea indicated by a shell.
nymph, wearing sphendone, within wreath. Pallas, helmet bound with ohve. Rev. No.
Amelia
Laus
staff
distaff
;
Sybai'is
bay
ZYBAPI. Man-headed
I
Croton
TA PAZ.
at his feet fish leaping.
beneath, shell.]
Tarentum holding Tarentum holding
Head
34
36
of
;
;
type in wreath.
Rev.
33
35*
of
:
of nymph.] Rev. N K A retrogr. Victory holding TEPI NAION. Victory seated on vase, holds wreath. Head of nymph. [Rev. KYA\AION. Pistrix and muscle.] YEAH. Head of nymph, wearing stei)hane. [Rev. Lion at bay.] YEAH. Head of nymi:)h. Rev. No. 33. Head of nymph around, wreath. [Rev. AAE. Ear of corn.] TTANAOZI A. Head of nymph, bound with taenia. Rev. No. 17.
Ohv. Ko. 30. Ohv.
The Demos The Demos
of Taras.] I
27
type.]
Liver Crathis holding jxatera and lustral bough
Taras riding on dolphin
TA PAZ
Velia
same
Archaic wheel.]
of bull.]
P E fl N 01. The Demos of Rhegium seated jOhv. The Demos of Tarentum seated, holding distaff; type in wreath.
Ohv.
Cumae
of the
0EZI-
shell.]
Rev.
21
26
Back
[Rev.
of vine.]
Rev. Eagle flying, incuse.
KPA0I2.
Rev.
[Ohv. Lion's scalp.]
retrogr.
25
Branch
KAYAONIATAZ. Apollo striking with bough. Stag in field. [Rev. KAYAON!A[ Stag; in field, crab.] nOIEIAANIATAI. Poseidon, clad in chlamys, striking with trident. [Rev. rTOIEIAA[ Bull.] Ohv. nOZEl retrogr. Type as last. [Rev. TTOZEI. Bull] [Ohv. META. Ear of corn.] Rev. Apollo holding lustral bough and bow.
TAPAZ
24
cable border,
Ohv.
Ohv.
Terina
[Rev.
?).
Back
:
Ohv.
20
23
[Rev.
[ReiK
holds snake in each hand.
8
15
479-
Dionysus holding wine-cup and branch of vine. in long chiton
Back of same figure, incttse.'] The other side of the same figure, inaise.']
retrogr.
[Rev.
lyre.
Head of nymph. [Rev. Lion's head.] As last. [Rev. KYME. Muscle and sea-plant.] Head of Taras. [Rev. Taras riding on dolphin, below,
S. Italy
BX.
[Rev.
incitse.']
,
CI. 12
TTOX
Poseidonia
479
field.
figures, incuse.
S. Italy
B.C.
Stag in
06.. Eagle standing
;
below, an owl.
Bull, looking back.
bull
;
below, an acorn.
on cornice of temple; in
Prom Mionnet's
field,
[Rev.
head of
AA
ibex.
I
retrogr. Man-headed bull ] [Rev.9?0. Tripod; in field,
olive-spray. ]
casts.
V
PI.
t
[0
/.^^
t ^.
-^'^i^ ^
15
r-^i
B.C.
550-431. ITALY.
I.
PLATE CI. 3
ZOTEP
Ohv.
1
Galaria
Zeus Soter seated
retrogr.
holds eagle.
;
Dionysus clad in long chiton
FA A A.
Rev.
2
II.
holds "vvine-cup and grapes.
;
Sicily
3 B. c.
550—
4
479
Camarina
Rev. Victory flying
Nasus
Ohv,
6
Ohv.
SYPA?OnON.
06^'.
As
Gela
Ohv.
TEAAZ
9
Syracuse
Ohv.
ZYPA. 6.
Rev, Quadriga crowned
7.
Rev.
PEAAS
Gela
Ohv. Cock.
14
Zancle
Ohv.
\phv,
Horseman
\_Rev.
The harbour
ZEAI NOr.
HYYAI.
jOhv.
16
Himera Catana
by Victory.
leading second horse. Rev.
bull.]
Armed horseman
of Zancle
within
;
;
in the midst, shell.]
in the field, a bull
;
on a base and
Rev. No. 36.
River Hypsas sacrificing at
altar,
round which twines a snake
lEAINONTION.
Ohv.
Nymph Himera sacrificing at altar behind, satyr taking a warm No. 39. Rev. KATANAION. Victory running, holding wreath. No. 22. Rev. NAEION. Satyr seated, holding wine-cup.
Heracles struggling with bull, and striking ;
it
;
in the field, a marsh-bird
and a
20
Naxus
Ohv.
Himera
[Ohv.
22
Nasus
Ohv.
Head
23
Catana
Ohv,
24
Leontini
Ohv. Ohv.
KATANAION. Head of Apollo laureate. [Rev, Quadriga.] Head of Apollo laureate. [Rev. AEONTINON. Lion's head and As last. [Rev. As last.]
Ohv,
lY PA KOZ
Syracuse [Rev.
H[IAAEPA]ION
Hermes
retrogr.
ri(_ling
on goat.]
of bearded Dionysus ivy-wreuthed.
with his club.
bath.
21
26
thrusting with spear.
[Rev. Incuse device
dolphin.
it,
Rev.
Ohv.
25
above, Victory.
;
midst of incuse.]
parsley-leaf
\
17
Rev. Quadriga
River Selinus sacrificing at altar, by which stands a cock
a parsley-leaf.
Sicily
Rev. No. 10.
Incuse device.]
vSelinus '
in the
Forepart of man-headed
retrogr.
AAN K.
^Ohv.
19
Female head
\_Rev.
Ohv. No.
Himera
18
Quadriga.
Ohv. No.
12
in field, A.]
around, dolphins to repx-esent the sea.
;
Forepart of man-headed bull (river-god).
retrogr.
J?
CI. 13
431
of Arethusa
))
13
15
Head
;
Rev. No. 11.
last.
8
11
type in wreath.
;
.
1
Syracuse
10
B.C. 479-
I
5
7
swan
at her feet,
;
K AAA A P N A N Pallas standing, leaning on spear. Head of Dionysus ivy-crowned. \Rev. NAEION. Bunch of grapes
Ohv.
»
Rev, No. 35,
NIKA. Victory holding
Rev.
aplustre
bound with
fillet.
Rev. No. 20.
four barleycorns.]
N. Head of Arethusa in net around, dolphins. Quadriga driven by aged man above, Victory.] 1
;
;
27
Ohv.
28
Ohv.
29 30 31
Leontioi
Segesta
Ohv,
Same inscription. Head As last. [Rev. Quadriga Same inscription relrogr.
06..
AEONTINON. Head
Ohv.
J.
E rEITAII B
of Arethusa ;
Head
Head
Syracuse
Ohv. No. 29.
Rev.
33
Leontini
Ohv, No. 30.
Rev.
34
Gela
Ohv, No. 40.
Rev. Quadriga crowned
35
Himera
Ohv, No. 18.
Rev.
Selinus
37
^Jle.ssana
jL w«-
\Rco.
38 39
Himera Catana
40
Gela
41
Agrigentum
42
[06. Ohv.
M ESS A N Apene
{Ohv. '
[Rev.
N
Man-headed
.
bull
:
KKPkV OT. M EIZA N N.
Type
;
;
above, Victory
bull.
Eagle.
;
;
Hound
;
^eu No.
33.
above, murex.]
below, lion.
;
Crab
beloNV,
as last
below, olive-spray.
below,
below, flower
Pan and
Rev.
Horseman
Rev. No. 19.
fish.
.34.
;
below, head of
Apene crowned by Victory
[Rev. ;
Rev. No. 32.
around, leaves,
behind, caduoeus.]
;
Rev. No.
[&'..
;
below, dolpliiu.]
Victory
)_,y
;
Quadriga
by Victory.
retrogr.
al)ove, water-fowl
Hare
[Rev.
around, dolphins.
•
below, lion
;
sacrificing at altar
mau-headed
mi
]
of
Hare rumiuig
crowned
Nymph Himera
1
Messana
lA^EPAION
of mules
Ohv. Forepart of Ohv.
1
Nike
nymph. Quadriga crowned by Victory As last.
32
36
of
of Apollo
retrogr.
around, dolphins.
;
above. Victory.]
1
syrin.^
two dolphins.]
alighting
;
below, pistrix
]
Pl.il.
B.C.
550-431. SICILY
PLATE Lete
CI. 4
))
N. Greece B.C.
Potidaea
600—
Orrescii
479
Ohv. SatjT
As
Obv.
Obu.
Obv.
;
10
Dicaea
Obv.
11
Aeneia
Obv.
12
Edessa
Obv.
EA
13
Abdera
Obv. Lion seizing bull.
;
Obv.
7.
Central Greece, Peloponnese, Crete,
Cyrene B. c.
600—
479
9
Thrace
Obv.
479 431
Elis
[Obv. Obv.
FAAEION retrogr. Eagle flying, in talons a serpent.] Zeus Aetophorus seated. [Rev. APKAAIKON retrogr.
Obv.
As
17
Gortyna
Obv.
18*
Cnossus
Obv.
Europa on bull. Minotaur holding
19
Naxos ? Athens
Ohv.
ji
Ohv.
Corinth
Obv.
9.
27
Cyrene
Obv. Silphium, seed of silphium
Corinth )?
Pegasus walking.
Thasos
Ohv. 0]A.
29
Abdera
[Obv. Griffin rearing.]
30
and head of
?)
Ohv.
Obv.
[Rev.
last.
AAPIIAIA.
Obv. Satyr drinldng from oenochoe.
35
Aenus
Obv.
36
Dicaea
Obv.
37
Pharsalus
Ohv.
38
Corcyra
Obv.
KG P. Head
39
Aeneia
Ohv.
Head
40
Aenus
Ohv. No. 35.
42
Ehs i>
Ohv.
Hermes.
of Pallas.
of Hera.
of Aeneas.
Rev. Al N.
Goat
Zeus Aetophorus seated.
Obv.
Thebes
[Obv. Boeotian shield.]
Rev.
[Obv. Boeotian shield.]
Rev.
48
I
[Rev.
TE-
Goat.]
AIKAIA.
Star.]
N EAZ. ;
Bull's head.]
Horse's head.]
Incuse square.]
in front, bipennis.
[Rev.
Zeus Aetophorus seated.
FAAE.
Eagle flying, serpent in beak.]
[Rev.
E B A.
APKA. Pallas
Head ?
of
nymph.]
seated, clad in long chiton
}}
[Obv. Boeotian shield.]
/•»
[Obv. Boeotian shield.]
Rev.
J)
[Ohv. Boeotian shield.]
Rev.
E BA N. Heracles carrying off the Delphic tripod. 0EBAI[OI. Infant Heracles strangling serpents. Head of Zeus Ammon. [Rev. Silphium plant.]
Cyrene
Obv.
50
Arcadia
[Ohv.
51
Athens
Obv.
Head
52
Elis
Ohv.
FAAEIO.
53
Athens
KYPA.
Zeus Aetophorus seated.] of Pallas.
Ohv. No. 51.
and holding helmet.
0EB.
Heracles holding club and bow. Rev. 0EBAIOS. Heracles stringing bow.
49
1
Rev.
APKAAl KON
Rev. No. 53.
Eagle
Rev.
stag.
Nike holding untied wreath.
Rev. FA.
Arcadia
46
AA IIA O N.
[Rev. K.
[Rev. Al
44
47
bow and branch, beside her, Horse galloping.]
in long chiton, holding
[Rev.
[Rev. (1>AP.
43
45
wine-cup.
Rev. No. 40.
of Apollo, or Goddess.
Obv. No. 52.
in beak.]
Horse galloping.]
Terone
of
head with serpent
[Rev. Incuse square.]
[Rev.
bull.
34
Head Head Head
[Rev. Eagle's
lion.
ANAEITTOAII. Dionysus clad in himation, holding rearing.] Rev. EHI A^YPIO. Athlete holding discus.
Hero struggling with
As
Victory holding wreath, running.
Rev.
ABAH. Griffin \[Ohv. ABAHPI. Grifiin recumbeat.] )Rev. TTOAYKPATHI. Artemis clad Larissa
retrogr.
nymph.]
[Rev. Incuse.]
Satyr surprising nymph.
[Ohv.
31
41
479—
Ohv.
Obv.
28
17.18
431
Ohv.
Ohv.
of
[Rev. Labyrinthine pattern enclosing star.]
stone.
26
))
FA
Head
nymph.]
Ohv.
CI. 15. 16.
B.C.
of
Rev.
[Rev. Lion's scalp.]
Cranium Heraea
22
33
Cyrene
Head
APKA.
25
20 21
32
nese, Crete,
[Rev.
last.
Head of satyr. [Rev. Incuse square.] Head of Pallas. [Rev. A0E. Owl and olive-spray.] As last. [Rev. AGE retrogr. Owl.] Head of armed goddess. [Rev. 9. Pegasus flying.] As last. [Rev. As last.] Bust of nymph or Aphrodite. [Rev. Head of ram.] Head of Hera. [Rev. EPA retrogr. within pattern.]
B. c.
Central Greece, Pelopon-
[Rev. Incuse square.]
kneeliiig.
[Rev. Incuse square.]
Arcadia
24
N. Greece
Goat
m.onogram.
'ill
15
16
square.]
;
14
23
CI. 14
[Bev. Incuse square.]
below, star.
;
Hermes running holds caduceus. [Rev. Incuse square.] Winged figure running, holding solar symbol in field, rose. [Rev. Incuse Centaur carrying ofi* nymph. [Rev. Incuse square.] Head of bearded Heracles in lion's skin. [Rev. Incuse square.] Head of Aeneas, helmeted. [Rev. Incuse square.]
Obv.
CI. 5. 6.
Poseidon on horseback, holds trident
0PPH5!KI0N. Man armed with two spears, leading two oxen. [Rev. Incuse square.] BISAATIKHN. Man armed with two spears, beside horse. [Rev. Incuse square.] Two women lifting an amphora rose in field. [Rev. Incuse square.]
Obv.
Bisalti
Incuse square.]
[Ilev.
[Rev. Incuse square.]
last.
Obv. TT.
Uncertain city
and nymph,
III.
flying.
A0E.
Rev. No. 42.
Owl and ohve-twig.
'''
From Mioanet's
casts.
retrogr.
Head
of Despoena.
B.C.
600-431. HELLAS.
PLATE Phaselis
CI. 9
Obu.
Erjdihrae
Asia Elinor B.C.
'?
Calymna
650—
Methymna
479
Parium
?
Chios
Phocaea Halicarnassus 9 10
11* 12
13*
CI. 19
Uncertain city
Obv.
Sphinx and amphora.
Obv.
male
deity.
EMI
ct>ANOI
Stag.
and dolphin.
Incuse square.]
[Jicv.
[Rev. Incuse square.] [Rev. Incuse pattern.]
and bull joined.
15
Obv. Eore-part of lion.
16
Obv. Lion's head.
[Rev. Incuse device.]
17
Obv. Lion^s head.
[Rev. Incuse square.]
19
Cyziciis
22
Citium ))
winged
lion
and winged horse joined.
[Rev. Incuse square,]
Obv. Heracles kneeHng, holding club
and bow
;
As
last.
[Rev.
Le Azbaal
Obv. Heracles holding club.
[Rev. Incuse square.]
in field, tunny.
Winged goddess rimning, holding tmmy by the
[Rev. Incuse square.]
tail.
Rev. No. 43.
Obv. Tyrian Pleracles holding club aiid bow. Obv.
[Rev. Incuse square.]
[Rev. Incuse device.]
Obv. Fore-part of stag.
Obv.
Rev. Incuse pattern.
[Rev. Incuse square.]
Obv. Sow.
Obv. Eore-parts of lion
?
of Pallas.
Rev. Incuse squares.
Uncertain city
Ephesus
fish.]
[Rev. Incuse square.]
IHMA retrogr.
Obv. Pore-part of bull.
18
below,
;
[Rev. Incuse squares.]
Seal.
?
of galley
Lyre in incuse.]
[Rev.
Head
Obv. Fore-parts of
21
431
Head
of
Prow
[Rev. Pattern in incuse.]
Obv.
Obv. Eagle
l
helmet and mask.
MA0YMNAIOI.
Rev.
[Obv. Boar.]
[Rev.
[Rev. Incuse square.]
galloping.
of Ares, or
Samos
20
479-
Head
U
Asia Minor B, c.
Horseman
Obv.
Obv. Chimaera.
Zeleia
Abydos
Heracles wrestling with Achelous.
?
Ohv.
Obv.
lY.
Lion tearing
in Phoenician letters.
stag.]
Lycian inscription and symbol.]
23
Lycia
24
Pamphylia
Obv.
Hermes winged, holding caduceus.
25
Nagidus
Obv.
26
Celenderis
Obv.
27
NAflAIKON. Dionysus holding grapes and thyrsus. [Rev. Aphrodite seated, crowned by Horseman armed with spear, alighting. [Rev. Goat kneeling.] Cyprian legend. Hermes clad in chiton, holding caduceus. [Rev. Like No. 33.]
Cyprus
Obv.
28
Cos
Obv.
KOZ.
29
Aspendus
Obv.
Warrior charging.
30
Mallua in Cilicia
31
Uncertain city
32
Erythrae
33
Cypru.s
[Rer.
[Rev.
Pamphylian
Discobolus preparing to hurl discus
Two
Obv.
Horseman leading
and wreath.
boxers, each holding oil-flask.
[Obv. Like No. 27.]
him
[Rev.
tripod.
above, caduceus.]
Crab
in incuse.]
horse.
Rev.
Head
EPY0.
[Rev.
[Rev.
A
Conical stone.]
f.
[Rev. Cuttle-fish.]
Flower.]
Amnion.
of Zeus
34
Lycia
35
Colophon
Obv.
36
Chalcedon
37
Coloj^hon
38
Lycia
Head of Ares. [Rev. KAAX. Padiate wheel] Obv. Head of ApoUo laureate. [Rev. KO A04>n N Lyre.] N. [Obv. Head of Pallas.] Rev. Lycian inscripticm. Head of bearded Heracles.
39
Aspendus
40
Cyprus
41
Lycia
[Obv. Boar.]
;
Rev. No. 39.
Obv. Victory running holding caduceus
Obv.
beside
;
Lion
inscription.
Rev. llelmeted head of w;xrrior.
K0A04>nNinN
Head
vetrof/r.
of Apollo laureate.
[Rev. Lyre.]
Obv.
1
42
Obv. No. 29.
Rev. EZTT.
Obv. Cyprian inscription. Obv.
Winged
Lion and triquetra of
lion-like monster.
[Rev.
[Obv. Boar.]
Rev. Lycian letters.
43
Citium
Obv. No. 21.
Rev.
44
lalyisus
Obv.
lAAYZION.
Le Baal Melek
In the
[Rev.
Lotus and astragahis.]
Lycian legend and symbol]
Triquetra of cock's heads. in
Phoenician
Fore-part of winged boar
*
legs.
Spliiux seated on lotus.
Museum
nt
;
letters.
Lion seated
below, helmet.
Munich.
[Rev.
;
I
in front, ram's head.
AAYIION.
Eagle's head.
Eros.]
Pi. JV
m»^m.
m^
13
12
17
— --^
20
23
31
35
34
36
37
38
4i 4-4-
B.C,
650-431. ASIA MINOR.
PLATE 01.22 S. Italy
B.C.
1
Rhegiuin
2
Croton
3
Tarentum
Lion's scalp
Ohv. Taras or
4
431-
5
6
Heraclea
371
7
Croton
[Ohi
8
Tarentum
Ohv.
9
Locri
Ohv. No. 14.
Riev.
Ohv. No. 23.
Rev.
[Ohv Ohv. Ohv.
15
Pihegium
16
Croton
Ohv.
17
Thin-ium
Ohv.
18
.
Ohc.
Heraclea
i^Ohv.
20
Terina
21
Nola
22
Heraclea
23
Terina
24
Thurium
25
Croton
26
Ehegium
27
]\Ietapontum
S. Italy
B.C.
371—
335
28-^
1
Ohv. No. 17.
TTOX E AA N I
bow and
Ohv. No. 15.
Head
[Ohv.
Bull butting
;
of Hera.]
Rev,
seated, holding wreath
;
Ohv. No. 35.
4).
fish.
Tripod between ear of corn and Python
\Rev.
Head
of Leucippus
on
corn,
leaf,
bird
;
;
Rev. Poseidon receiving Taras
behind, star.
;
Heracles reclining, holding POTflN TAPAZ. Taras riding on dolphin holds
K
I-
;
Rev.
wine-cup and club. wine-cup.
;
!
35
36
Ohv. No. 45.
(Alex-
i^Ohv.
ander of Epirus)
\[Rev
(
39
(Alexander)
;
below, ATT, 0.
Thunderbolt and spear-head.]
»
^leta^^jontum
As
Ohv.
As last. [Jiev. Same legend. Thunderbolt.] Head of Zeus laureate behind, fulmen.
l[Rev
Yelia
Ohv.
42
Pan do si a
Ohv.
Crot(
m
Same
Ohv.
last.
[Rev.
legend.
Thunderbolt and
eagle.]
i
41
43
Rev. Ai-med horseman thrusting with spear Dodonaean Zeus, oak-crowned.
AAEEANAPOY TOY NEOnTOAEA\OY.
.
i^Ohv.
40
of
below, owl.
.
Italy j
38
Head
coiled.]
behind, dog below, Z.] below which, AMI.
;
;
j
beside her, vase.
6.
As last Taras holds plant. Rev. hH PAKAH IHN. Ohv. No. 44. Heracles strangling lion in field, club, KAA, Rev. T E P I] N A lOhv. Head of nymiih.] Victory standing, holding caduceus. Ohv. Horseman crowning horse. Rev. No. 3^30 Ohv. Horseman gallo})ing. Rev. No. 31.
31
>S.
Bull] below 4>.
A.
Rev. No. 10.
below,
Eagle carrying ohve-bough.
AEYKITTTTOZ. AAETA. Ear of
{Rev.
Ohv. No. 34.
37
I
;
Reo. Lion's scalp.
Tarentum
Tarentum
club
;
eOYPiriN.
Rev.
KPOTHNI.
Ohv.
30
Tarentum
;
in field,
bird.
.
TEPINAION.
Rev.
34
lion
Eirene seated on altar, holds caduceus.
;
.
Ohv. No. 43.
Terina
EIPHNH AOKPHN.
Nike seated on cippus, holds
I
Croton
Heraclea
\Rev,
pistris.
Nemean
;
Tarentum
32
Heracles strangling
T E P N A O N Head of nymph Terina.] Rev. Nike lEYS. Head of Zeus laureate. Rev. No. 11. P H n N 1. Head of Apollo laureate. Rev. No. 26.
29
33
and head of
in field, branch,
Nike seated on hydria holding caduceus and bird.] Ohv. Head of nymph. \_Rev. NflAAIOr. Man-headed bull, crowned by Victory.] Ohv. Head of Victory (?) on aegis. \Jlev. H PAKAEIHN. Heracles reclining holds wine-cup.] Ohv. TEPINAinN. Head of nymph. Rev. No. 12.
ilRer
^[Ohv
01.32
;
KPOTON IATA5:. Head of Apollo lam-eate. Head of Pallas, Scylla on helmet. Rev. No. 24. As last. \Rev. OOYPinN- Bull butting.] Head of Pallas, sea-horse on helmet. Piev. No. Head of nymph Terina within wreath behind
Ohv.
19
Taras armed, riding on dolphin.
;
Terina J?
type in wreath.
Rev. Infant Heracles on couch strangling serpents.
11
Locri
staff,
\Rev. Like No. 7.]
;
Ohv. No. 16.
14
seated leaning on
seated playing with panther's cub.
H PAKAEIflN.
Rev.
12 13
Demos
retrogr.
Like No. 2.] Furv. Apollo shooting the Python between the two, tripod. Horseman thrusting with spear. \B.ev. TAP retrogr. Taras on dol])hin amid waves.] Horseman crowning horse carries shield. \Rev. TAPAZ retrogr. Taras on dolphin, thrusting with
Ohv.
J)
Croton
10
Demos
Ohv. Poseidon striking with trident Ohv. No. 19.
PH f! NOZ
Rev.
olive-spray.]
Heracles seated holding lustral branch and leaning on club.
TAPANTI NHN.
Rev.
Poseidonia
and
0IKI5!TAJ.
Ohv.
Y.
;
.
ME]TArrON.
Head of Pallas YEAHTflN. Head of Hera Lacinia. [Rev. TTAN]AOII N. Pan Agreus seated by Term.] As last. Rev. No. 29. Head of Pallas, Scylla on helmet. Rev. No. 32. Head of Hera. Rev. No. 36. ;
Ohv.
44
Heraclea
Ohv.
45
Tarentum
Ohv.
Ear of corn; in field, KAA, and poppy-head.] signed on helmet by the artist Cleodorus. [Rev.
*
From Mionnet's
casts.
Lion tearing prey.]
spear.]
Pl.V.
t
5fe
12
10
/3
i>T^ 14
18
#=lr-»S
i**-;^
^ Jfe.^'' 'I-S
4-3
B.C. 431-335. ITALY.
4-4
PLATE 01.23 Seliiius
Sicily
Himera B.C. 431-
Erys
371
Selesta 5
19
20 21
22
23 24 25
26 27
28 20
30 31
32
CI.
33
Sicily
371335
B.C.
YI.
PL
33
B.C.
431 -335. SICILY.
^0
VI
PLATE 01.24
1
Thasos
[Obv. No. 8.]
N. Greece
431—
B.C.
371
3
Obv. No. 17.
Larissa
Archelaus
Amyntas
III.
I
Aenus
\
10
Archelaus
11
Amphipolis
12
Chalcidice
I.
i
13
Euboea
16
Neapolis
17
Larissa
18
Pharsalus
19
20
XeapoHs Abdera
21
C hale is
22
Locri Opuntii
23
Thebes
24 25
431-
371
CI.
34
N. Greece
371—
B.C.
!
j
Thebes
15
Obv.
Horseman
Obv. Lion devouring bull.
[Ohv.
;
1
Head
AKAN0ION.
[Rev.
bound with
Rev. Lyre
of Persephone.]
[Obv. Boeotian shield.]
Rev.
;
beside
it,
A-]
Linear square.]
fillet.
OTTONTIflN.
Ajax charging; below,
shield.
0E. Infant Heracles strangling serpents. [Obv. Boeotian shield.] Rev. Head of Dionysus, iv}^-crowned. [Obv. Boeotian shield.] Rev. 0E. As last. Obv. Head of Apollo laureate. [P\.ev. AAEPA. Five crescents.] [Obv. Boeotian shield.] Rev. 0E. Amphora in ivy- wreath. Obv.
29
Phihp
Obv.
Rev.
of Apollo laureate.
Obv.
Head Head Head Head
of
Ares?
Obv.
Head
of
young Heracles.
Ohv.
of Pan.
Obv.
Phalanna
;
I
Obv. No. 12.
Chalcidice
30
;
Head of Diousyus ivy-crowned. Rev. No. 1. Head of Hermes, wearing pileus. [Rev. A N N. Goat in field, eagle.] [Rev. APXEAAO. Horse walking.] Obv. Head of Ares, or Apollo, bound with taenia. Obv. Head of Apollo laureate beside, small dog. [Rev. AM^^ITTOAITEnN. Torch Obv. Head of Apollo laureate. Rev. No. 21. Obv. As last. [Rev. As last, tripod above lyre.] [Obv. Boeotian shield.] Rev. 0E. Head of bearded Heracles. Obv. Head of nymph. [Rev. EYB. Head of bull.] Obv. No. 19. Rev. NEOTT. Head of Nike, wearing olive- wreath. Obv. Head of nymph. Rev. No. 3. Obv. Head of Pallas. Rev. No. 6. Obv. Head of Gorgon. Rev. No. 16.
28
II.
[Rev. AAAYNTA. Lion breaking spear in his mouth.] Horseman, whip over shoulder in exergue, TEAE
ANTO retrogr. [Rev. AAENAAI H. Amphora.] in field, astragalus and barleycorn.
Obv.
Megara Thebes
31
Fore-part of goat.]
striking with lance.
Rev. /KPT.
Obv.
27
26
APXEAAO.
[Rev.
spears.
trident.
;
I
14
Horseman carrying two
Obv. Silenus riding on ass
Thasos
B.C.
AAPIIAIA.
Rev.
in field, buckler.
;
APIAPTIOIi. Poseidon thrusting with Horseman standing beside horse. Rev.
trident.]
Obv.
Obv. No. 18.
MenJe
Central Greece
it,
I.
Pharsalus
25
on
Macedon 4 5
CI.
Heracles as an archer
0AIIION.
Rev.
[Obv. Boeotian shield,
Haliartus
YII.
[Rev.
of Zeus laureate. of Ares laureate. [Rev.
XAAK AE AN.
Lyre.]
I
Rev. No. 39. Rev. No. 38.
4>AAANNAinN.
Bridled horse.]
Macedon
335 32
Pcrdiccas III.
34
Cierium Panticapacum
Obv.
35
Larissa
Obv.
Head Head Head
Obv.
Head
of Hecate,
Obv.
Head
of Artemis.
33
of Zeus laureate.
of
TTEPAIKKA.
[Rev.
K EP E
[Rev.
I
I
I
Horse
;
below, club.]
H N. Nymph Arne playing with astragali.]
Rev. No. 42.
nymph.
Rev. No. 40.
Pherae 36
Alexander
37
Orthagoria
38
Philip II.
Obv. No. 30.
40
Larissa
41
35
[Rev.
i
Obv. No. 29.
AITTTTOY. Rev. 4>l AITTTTOY.
Obv. No. 35.
Rev.
AAPIIAinN.
Pherae Alexander
Obv. No. 36.
Rev.
AAEEAN.
42
Panticapacum
Obv. No. 34.
Rev.
TTAN.
43
Locri Opuntii
[Obv.
Head
of Persephone
Rev. No. 41.
GPOArOPEflN.
Rev.
39
CI.
with arm holding torch.
Helmet, surmounted by Two-horse chariot below, trident.
star.]
;
Victorious horse and jockey
;
below, thunderbolt.
Horse feeding.
Head
of lion.
Griffin holding spear in jaws, treading
crowned with corn.]
R.ev.
on ear of corn.
OTTONTIflN.
Ajax charging
;
below, spear.
\Obv. No. 47.
Central Greece n.c.
371—
335
44
Amphictiones
45
Eleusis
46
Locri
47
Amphictiones
48
Kleusis
KTIONflN.
Apollo clad in long chiton, seated on omphalos and leaning on lyre winged chariot drawn by serpents. Re'o. No. 48. 0}>o. Plead of Persephone, crowned with corn. [Rev. OfTONTinN. Ajax charging.] Ohv, Head of Demeter, veiled and crowned with corn. Rev. No. 44.
\R.ev.
AAA4>I
Obv. Triptolemus in
Obv. Xo. 45.
Rev.
*
EAEYII.
From
Pig standing on torch
the Oollection of
:
below, pig's head and ivy-leaf
Dr Imhoof-Elumer.
;
in field, tripod.
Pl.Vil
^irm -^^.
%^ 7h
33
^fM^m^m^ 38
35
.>>iii»«'^
\^'^ ^1-5
f3
-+1
B.C.
431-335.
NORTHERN GREECE,
PLATE CI. 26
Peloponnese
3
4 B.C.
431-
371
Ohv. No.
8.
Rev.
Oh). No.
9.
Rev. KE4>A.
Elis ?»
Eagle holding serpent in claws.]
[Ohv. Eagle tearing hare.]
Rev.
FAA.
Victory running, holding wreath.
Victory seated, holding palm
Rev. FA-
below, olive-twig.
;
Corinth
Ohv.
6
Elis
Ohv.
7
Epidaurus
Ohv.
Chimaera below, A I, amphora.] Head of Olympian Zeus crowned with olive, [Rev. FA. Thunderbolt type in olive-wreath.] Head of Asclepius laureate. [Rev. ETT in monogram, within wreath.]
Ohv.
Head
8
Z(acyuthus
9
Pale in Cephallenia
10
Cleone
Ohv.
11
Corinth
Ohv.
12
Cephallenia
13 14*
Argos ))
15
Elis
16
Corinth
18 19
20
Sicyon
21
Ehs
9.
Bellerophon on Pegasus, striking with spear.
\_Rev.
;
;
of Apollo laureate.
Head
Ohv. TTA.
Head Head
of Cephalus.
of Apollo radiate.
armed goddess
of
Head
Rev. No.
1.
Rev. No.
2.
[Rev. ;
KAH.
Butting bull
behind, trident.
[Rev.
9.
;
above, Centaur.]
Pegasus
flying.]
Rev. Head of Procris behind, Head of Hera, wearing stephanos. [Rev. APTEiriN. Two dolphins between them, wolf.] Ohv. As last. [Rev. APfEiriN. Two dolphins between them, swan.] Ohv. As last. [Rev. FA. Thunderbolt type in olive-wreath.] Ohv. A. Head of Aphrodite. [Rev. ?. Pegasus flying.] Ohv. A. As last. [Rev. As last.] Ohv. A. As last. [Rev. As last.] [Ohv. Head of armed goddess.] Rev. 9. Pegasus fastened by halter to nail. Ohv. Chimaera below, head of Pan. [Rev. A, f. Dove flying in olive-wreath.] [Ohv. KE4>.
of Cephalus
;
in field, dog's
head and spear-head.]
;
Ohv.
;
;
;
;
Ohv. Eagle tearing ram, on
23
24
[06v. Eagle tearing hare.]
25
Messene Elis
27
;
;
26
)j
28
Messene
29
Elis
Ohv. No. 28.
Rev.
FAAEION.
Winged thunderbolt.
MEIZANIHN.
Zeus holding thunderbolt and eagle. Zeus laureate. [Rev. Eagle on Ionic capital.] Ohv. FA. Head of Olympia. Rev. No. 30. Ohv. Head of Demeter crowned with corn. Rev. No. 25. Ohv. FA. Head of Hera. [Rev. Eagle standing, in wreath of olive.] Ohv.
Rev.
FAAEION.
Ohv. No. 27.
30
Head
of
Rev. Eagle, within olive- wreath.
[These coins appear from historical grounds to belong to the period after is
CL36 Pcloponiiese
B.C.
371-
335
No
33 34
Stj-TQphalus
Ohv. No. 38.
Rev.
ITYAAfl>AAinN.
35
Argos Pheneus Arcadia Stymphalus
Ohv. No. 40.
Rev.
APTEinN.
32
36 37
38 39
40 41
42
Ohv.
Rev.
41.
Ohv. No. 37. [Ohv.
Head
B.C.
371
;
but their style
rather of an earlier period.]
Pheneus Arcadia Zacynthus
31*
stork.
;
round shield. [Rev. FA. Thimderbolt.] Ohv. Eagle tearing serpent. Signed by the artist Da(edalus ?). [Rev. As last.] Ohv. Head of Eagle below, leaf Signed as last. [Rev. FA. Thunderbolt within wreath.]
22
26/36
\^Ohv.
Infant Heracles strangling serpents.
Cephalus seated, holding hunting-spear.
5
17
CL
lAKYNGIflN.
Zacyiitlius
Pale in Cephallenia
VIII.
Rev.
<^EHECiH APKAI.
ARK
in
monogram.
of Apollo laureate.]
Rev.
Hermes carrying the infant Areas. Pan seated on mountain (which is inscribed GAY)
IAKYN0OY.
Apollo?
sedated,
Heracles striking with club
Diomedes carrying
off
;
below, his syrinx.
caressing snake.
below,
10.
Palladium.
Head of Persephone.] Rev. 4>ENEriN. Hermes seated on rocks. Head of Zeus laureate. Rev. No. 32. Ohv. Head of Artemis laureate. Rev. No. 34. Elis Ohv. FA. Head of Hera, wearing stephanos. [Rev. Eagle standing, in wreath of olive.] Argos Ohv. As last. Rev. No. 35. Pheneus Ohv. Head of Demeter crowned with corn. Rev. No. 31. Corinthian colony Ohv. Head of armed goddess behind, Zeus hurling thunderbolt. [Rev, A. Pegasus flying.] Ohv. A. Same head behind, Hermes seated in front, magistrate's name, APA0GOZ [Rev. Pegasus \[Ohv. Head of young Heracles in lion's skin.] Stymphalus iRev. 2:TYAA<4>AAI0N. Head of a Stymphalian bird emerging from amid plants. [Ohv.
Ohv.
;
43
44
;
;
From
Mionnet's casts.
flying.]
PLvru.
B.C.
431-335. PELOPONNESE.
PLATE
IX.
PI. IX,
amk
28
B.C.
431-300. CRETE, CYRENE.
PLATE
CI.
Obo. Cecrops, serpent-footed, grasping tree,
Cyzicus
29
Obv. Victory kneeling, on tunny.
Asia Minor B.C.
431—
9
10
;
Tiribazus
;
»
Aspendus
;
12
Celenderis
Obv.
Horseman
13
Chios
Obv.
Sphinx seated
U
Coloi)hon
Obv.
15
Rhodes
Obv.
;
KEAE.
Goat kneeling.] and amphora. [Rev. Incuse square.]
in front, grapes
16
]\legisLe
Obv.
17
Trapezus
Obv.
Bearded male head.
[Rev.
18
C nidus
Obv.
Head
Rev. No. 20.
of a
King
or Satrap in Persian cap.
of
Hehos on
radiate disk.
of Aphrodite.
19
Cyprus
Obv. Cyprian inscription.
C nidus
Obv. No. 18.
Rev.
EOBHAO.
21
Rhodes
Obv. No. 15.
Rev.
POAION.
Obv. No. 36.
Rev.
MAYJZnAAO.
No. 45.
23
Cyzicus
beliind,
(
24
Lampsacus
25
26 27"
Rev.
AP
in
Bull
[Rev.
TPA.
20
Mausolus
Lyre.]
[Rev. BA5!I A.
Rev. No. 21.
of Apollo.
;
Asia Minorj
[Rev.
alighting.
Head Head Head
{^Obv.
371—
[Rev. Similar to No. 10.]
Obv. Wrestlers.
Caria.
behind him, raven.
;
and shield. wreath and flower. holds Hormuzd flying Obv. Zeus holding eagle and sceptre. Aramaic letters. Tiribazus in Rev. Name of SHnger in field, triquetra. Rev. Pamphylian inscription. [Obv. Similar to No. 11.] Obv. Pallas armed, holding owl
11
335
[Rev. Incuse square.]
last.]
Warrior about to discharge arrow behind, tunny. [Rev. As last.] Pamphylian inscription. Apollo at altar, holds laurel- branch and bow
Rev.
))
Cilicia.
B,c.
on tunny.
two horses, kneeling, on tunny. [Rev. As last.] Harmodius and Aristogeiton charging, on tunny. [Rev. As last.]
Obv.
Side
39
As
[Rev.
Obv. Helios holding
Obv.
371
CI.
X.
;
ME.
Table
on
;
Rose with buds.] it bunch of grapes.]
above, winged symbol
Head and paw Rose with bud
;
in front, cru:v ansata.
[Rev. Eagle flying.]
of lion. ;
in field, Sphinx, seated.
Zeus Labrandeus armed with bipennis in field, wreath. KYIt. Apollo seated on omphalos, holding patera and leaning on lyre; monogram. ;
in front,
cock;
Obv. Victory erecting trophy.
Obv. Persephone rising
))
Clazomenae Orontas
[Rev. Half-winged horse.] from the ground amid corn and vines.
[Rev. Half-winged horse.]
^
Obv,
T.
[Rev.
$
O PO N TA.
Half- winged boar.]
\[Obv Cyprian inscription.
Zeus seated.] Female figure pouring incense on altar and holding branch. Obv. Pallas Nikephoros her right hand rests on trunk of tree. Rev. No. 34. ^Ohv. Name of Satrap in Aramaic letters. Two deities standing between them, incense-altar. \[Rev. Baal Tars in Aramaic letters. Baal Tars seated, holds eagle-topped sceptre and grapes.] Fi^ev. Baal Tars in Aramaic letters. Baal Tars seated, holding grapes and corn fJhv. No. 32. incense-altar imder throne, forepart of bull around, the walls of Tarsus. Obv. A\AA. Hermes beside him, Aphrodite, who rests on pillar and lays a hand on his shoulder. \Obv. Name of Satrap in Aramaic letters. King or Hero shooting in seated attitude in the symbol and bow. Rev. No. 30. .
Cyprus
28
Lycia
29
Tarsus
Cyprian inscription.
{Rev.
;
;
,
30
\
31
32
Mallus
;
;
Tarsus
{
33
Mallus
34
Lycia
35
Obv. No. 31.
Rev. Pallas seated, holding spear and shield
Obv. No. 28.
Rev.
behind her, Pemale deity seated between sphinxes, and smelling \Obv. Young Dionysus seated in vine over shoulder, ear of corn. }[Rev. Car drawn by oxen above, winged symbol.]
37 3.S
LampsaciLs
30
Caria.
42*
Obv. Obv. Obv. Obv.
)?
40 41
Obv.
Cyzicus
Obv. Obv.
>f
4^
Tenedos
Obv.
44
Mytilene
Ohv.
45
tree.
flower.
;
.
Mauaolus Clazomenae
36
;
;
Cilicia
Cyzicus
Obv.
Head of Apollo laureate. Rev. No. 22. As last. [Rev. KAAIO AOHNArOPAI. Swan; below, winged boar.] Head of a Cabeirus wearing laureate pileus. [Rev. Half- winged horse .] Head of a Maenad wearing ivy-wreath. [Rev. As last.] Plead of a Maenad with pointed ear. [Rev. As last.] Head of Demeter, corn-crowned below, tunny. [Rev. Incuse square.] Laureate male head, bald below, tunny. [Fiev. As last.] Head of dimorphous Dionysus. [Rev. TENEAION. Bipennis; in field, grapes and Head of Apollo laureate. [Rev. A\YTI. Lyre amphora in field.] Head of Demeter, corn-crowned below, tunny. Rev. No. 23, l
;
;
lyre.]
;
;
Cilicia
46
I
Pharnalmzus
47
Paplios
4S
Cyprus
)
[Obv.
Helmeted head of Deity
name
of Pharnabazus in Aramaic letters.] Rev. Head of nymph. Head of Aphrodite, wearing Stephanos. [Ryv. J\k^\. Dove above, astragalus.] Ohv. As last. [Rev. Cypriote letters. Head of Pallas.] O'nK BA. As last. [Rev. TTN. Turreted head of goddess.] [Obo. Head of Apollo. Signed by the artist Theodotus.J Rev. KAAIO MANAPHNAE. Swan. ;
Obv.
;
4'.)
50
CI; izoiijunae
*
beside him,
;
;
From
the collection of Rev.
W.
Gruenwol!.
Rev. No. 33. field,
winged
Pl.X
B.C.
431-335. ASIA MINOR.
PLATE
CI.
Heraclea
42
S. Italy,
Obv. No. 13.
Pyrrhus
S. Italy
Rev.
hHPAKAHIflN.
Rev.
BAZIAEHX TTYPPOY.
Heracles holding club and
bow
;
in field, wine-cup.
Thetis on hippocamp, bearing the armour of Achilles.
N K in monogram. Horseman crowning horse. i[Rev. TAPAZ. APIZTO. Taras on dolphin holds Victory and trident.] Obv. As last, magistrates' names, XA 4>IAIAPX05!. Rev. TAPAZ. Taras riding on dolphin, holds grapes below, ATA. KPA.
i^Obv,
Tar eu turn
335—
B.C.
Obv. No. 10.
XT.
I
;
280
;
Locri
Head Head
Obv. (Obv.
S, Italy,
Pyrrhus
9
10
43
Sicily
Neapolis
Obv.
Thurium
Obv.
13
Heraclea
Obv.
14
Neapolis
Obv.
15
Metapontum
Obv.
;
Locri
Obv. No.
18
Amelia
[Obv.
Rev. Eagle tearing hare
6.
Head
of Pallas
19
Neapolis
[Obv. Like No. 11.]
20
Thurium
Obv. No. 12.
Syracuse
)
Agathocles
(
21
Rev.
KO PAZ.
[Obv.
in field,
;
Head
j[Obv.
23
of Persephone
Syracuse
Head
thunderbolt.
YEAHTflN.
Lion devouring
and
of Artemis, with torch
of Ares laureate.
26
Biga
[Rev.
280-
146
As
34
))
Locri
;
35
Bruttii
36
;
Rev. Horse.
Obv. No. 40.
(Rev.
146
Head
Rev,
BPETTiriN.
37
Obv. No. 39.
Rev.
38
Obv.
Heads
Obv.
Head Head
41
Syracuse
Obv.
\Obv.
42
43
Syracuse, Hiero IT,
44
Syracuse
AOKPHN.
crowning
Roma
;
the names of Pistis and
Aphrodite riding on hippocamp in company with Eros,
who
;
of
Amphitrite
of
Zeus laureate
;
behind, cornucopiae.
behind, dolphin.
;
;
Rev. No. 36.
Rev. No. 37.
below, monogram.
Rev. No. 34.
monogram.] Artemis discharging arrow; beside Head of Persephone crowned with corn behind, owl. of Pallas
in field,
;
ZYPAKOZiriN
.
Zn.
her, dog.
;
ZYPAKOZinN.
Obv.
Head Head
45
Rev.
BAIIAIZIAZ
46
Obv. No. 43.
Obv.
faith (Pistis)
BPETTinN. The Dioscuri on horseback, club below. BPETTIHN. Poseidon leaning on sceptre in field, crab.
of the Dioscuri
Head
Good
Roma
behind them.
of Poseidon, trident over shoulder.]
Rev.
Locri
;
;
last.
Obv. No. 38.
40
Thunderbolt.]
;
;
i[Rev. B.C. 280-
Alkis.]
Obv.
Carthage
Ui<-v.
Sicily
Athene
Quadriga above, triquetra below, monogram. Obv. Head of Persephone crowned with corn. [Rev. Horse above, sacred symbol.]
\[Ohv.
53
bucranium.
ZYPAKOnHN.
Obv.
39
CI.
;
;
\[Obv.
B.C.
and thunderbolt.
Obv.
Syracuse
33
S. Italy
in field, star
Rev.
28
32
52
;
30
Obv.
and cornucopiae.
below, triquetra.]
29
Pyrrhus
in field, triquetra.
in field, thunderbolt
27
31
CI.
;
;
quiver.]
Victory carrying wreath and trophy
i^Obv.
25
fighting
ZYPAKOllflN. AlOI EAAANIOY. Head of Zeus Helleums- laureate behind, ([Rev. lYPAKOIinN. Eagle on thunderbolt.] Obv. Head of young Heracles in lion's skin. [Rev. lYPAKOZIflN. Obv.
stag.
Rev. Victory erecting trophy
crowned with corn.]
TTYPPOY BAIlAEflZ. Athene Alkis
^ey.
TTYPPOY BAZIAEnZ.
iRev.
field,
Rev.
;
Head
Like No. 28.
in
;
E, A.]
NEOTTOAITHZ. Man-headed bull crowned by Victory. GOYPinN. Bull butting below, thunderbolt, above 0E.
\
6^5^?.
I
field.]
Rev.
S
B.C. 335-
24
;
;
Obv.
)i
Syracuse
;
;
17
22
below, letters.
;
Head of Achilles below, A. Rev. No. 2. Head of Nym^^h behind, bunch of grapes beneath, AI04>AN0YZ. [Rev, Like No. 19.] Head of Pallas, on helmet, Scylla. Rev. No. 20. Head of Pallas, Scylla on helmet. Rev. No. 1. Head of Nymph behind, oenochoe. [Rev. Like No. 19, legend NEOnOAITflN, Bl.] Head of Persephone, crowned with corn. [Rev. META. Ear of corn, plough and letters in As last. [Rev. AAETA. Ear of corn.]
Obv.
12
Pyrrhus 280
Zeus Dodonaeus crowned with oak
BAZIAEfll TTYPPOY.
;
Pyrrhus
11
16
CI.
Tarentum S. Italy,
of
Rev. No. 17.
Dione seated on throne below, A.] Obv. Head of Apollo laureate. [Rev. KPO. Tripod; in field, laurel-branch.] Obv. As last. Eagle on thunderbolt in field, letters.] [Rev. TAPANTI NflN.
l[Rev.
Croton
of Zeus laureate.
of Hiero
;
Quadriga driven by Victory Rev. No. 46.
;
letters in field.
behind, star.
of Phihstis, veiled.
R,v.
4>IAIIT1 AOZ.
Quadriga driven by Victory
BAZIAEOZ lEPHNOZ. As
;
last; above, star
in front, A. ;
in front, K-
shoots arrow
;
in field, shell.
PJ. XI.
Tf:^
^^'^1
iJj
.
B.C.
335-146. S.ITALY, SICILY.
PLATE Macedon
CI. 44/5
K. and
Alexander Demetrius
C.
/
}
280
Lamia
7
Phthiotic Thebes
11
12
13 14 15
nese,
Crete,
Cyrene, B. G.
&;c.
335-
280
Alexander
23
24 25 26 27 28
on prow of galley, blowing trumpet, and holding standard. Poseidon seated, holding dolphin and trident ; shield on side of throne. Rev. BOinXflN. Obv. Xo. 14. Rev. AAAMEIIN. Heracles seated, holding bow and quiver. Obv, No. 20. Protesilaus leaping ashore from galley. Rev. BA [Obv. Head of Demeter.] Young Heracles holding club in both hands. Rev, r.-trogr. [Obv. Lion's head, spear in mouth.] N Archaic simulacrum of Dionysus raised on throne, beside it, cantharus. [Obv. Head of Herrnes.] Rev. A N Rev. [Obv, Head of Pallas.] APOY. Victory holding Avreath and standard ; in field, helmet.
0H
\[Obv.
Thrace Lysimachus Uranopolis
IliTIAIEfiN.
[Obv.
Head
B.C.
280—
lie
croAvned with vine.] Nymph seated on galley, holds trophy
Aenianes )
Poliorcetesj^
Lamia
bunch of grapes,
I
Head
of
Demetrius diademed, with horn of
Obv.
Head
of
Lamia diademed.
in field,
stixr.
solar symbol.
of
Head Head Head
Rev. No,
Rev, No.
bull.
2.
6.
Asclepius seated, caressing serpent dog under seat. Rev. E. Poseidon seated, holding dolphin and trident. of Zeus Ammon.] Rev. TH. \[Obv. of young Heracles.] Rev. APOY. Zeus Aetophorus seated, Victories on back of throne bylow, monogram. in field, trident \ Obv. No. 31. Rev. N IHN. Poseidon standing, holding dolphin and trident in field, grapes. Ehs [Rev. FA. Eagle.] Obv, Head of Zeus laureate. Ohv. F A A E N Head of Hera. [Rev. Eagle within wreath.] Colonies of Corinth Obv. Head of armed goddess behind, Eros riding on dolphin and A. [Rev. A. Pegasus flying.] \Obv. Head of armed goddess, helmet bound with myrtle ; behind, plough ; in field, A P.
Epidaurus Tenos Sicyon ? Alexander III. Tenos
[Obv,
[Obv.
,
.
of Apollo.]
;
AAEEAN
TH
I
n
;
.
;
Ohv.
Tenos
Obv. Ohv.
33
Paros Achaia
34
Byzantium
Pegasus flying.] of Persephone crowned with corn. [Rev. E P in monogram. Wreath of corn.] of Dionysus Ammon with ram's horn. [Rev. KYPA. Silphium in field, snake and monogram.] head, laureate. Rev. No. 24.
Head Head Same Head Head
Ohv.
Ohv. ^[Ohv.
.
;
of nymph. [Rev, of Zeus laureate.
Head
ilacedon.
A^ENIZKOY.
Anti-)
gonus Doson Thessaly Boeotia
38
Aetolia
ANAEI K. TTAPb Goat.] [Rev. AX in monogram, within
wreath.]
of Demeter.]
(Rev, B. ETTl
37
Ohv. No. 41.
Poseidon seated, holding aplustre and trident, in
BAIIAEni ANTI fONOY.
Rev.
'?
field,
Apollo seated on galley, holds
monogram.
bow
;
beneath, monogram.
j
\[Obv.
Head of Zeus crowned with Head of Zeus laureate.]
'iRev,
BOinpnN.
[Obv. .
'^Obv.
.
\Rev.
oak.]
Rev,
GEIIAAnN
TTOAI.
Pallas Itonia fighting.
Victory holding wreath and trident in field, grapes and monogram. Male head wearing diadema and oak- wreath, below, c|>|.] AITnAnN. Aetolian warrior leaning on hunting-spear. ;
.AKAPNANnN. Head of Achelous.] MENNEIAI. Artemis running holding torch in field, second torch. Obv, No. 42. Rev. AITnAnN. Aetolia seated on shields, holding spear and sword
\[Ohv.
39
{Rev.
40 ^lacedoij.
Anti-
gonus Doson
;
Ohv,
Head
of Poseidon or Piver-god
Head Head
of Young Heracles. of Pallas.
crowned with reeds.
Aetolia
Obv,
43
Athens
{Obv.
44
E2)iras
'{[Rev.
\obv,
Philip V.
IH
and monogram.
;
;
all in olive-wreath.]
of Zeus
ATTEIPnTAN.
Bull butting; type in oak- wreath.] on Macedonian shield. '{[Rev. BAIIAEni <1>IAITTnOY. Club in oak-wreath monograms and harpe in field.] Ohv. Head of the king Perseus, diademed below, iniAOY. [Rev. BAIIAEni TIE PI Eagle on thunderbolt, in oak-wreath monograms and star in }[Rev.
Macedon
in field,
Rev. No. 40.
Owl on Amphora in field, names of magistrates and device Dodonaeus and Dione, behind, AAE.
A0E. Heads
;
Rev. No. 35.
'?
42
{Ohv,
Head
of Perseus
;
46 CI. 56/8
Pel op oniiese,
Perseus
47
Messene
48
Paros
49
Gortyna
50
Cydoiiia
51
Elis
Crete B.C.
2^0-
146
;
;
C}T:ene
45
in field,
Rev.
Obv.
31 32
41
;
BAIIAEni AYZIAAAXOY. Pallas Nikephoros seated OYPAN AnN. Aphrodite Urania holding sceptre; in field,
of Alexander, horned.]
Head
Hermione
36
.
1
'^Obv.
29 30
35
AN-
Rev. No. 1. Alexander diademed, with horn of Amnion. Pallas Nikephoros seated.] ][Rev. BAIIAEni: AYIIA\AXOY. Warrior throwing javelin.] [Rev. AINlANflN. Ohv. Head of Zeus laureate. [Rev. AM. Obelisk in wreath.] Obv. Head of Dione veiled.
III.
Demetrius
Nymph
of
{Rev.
.
N. and C. Greece
I
Rev. [Obv. Radiate disk (the sun).] Rev. No. 5. Ohv. Head of Zeus laureate. Obv. Head of young Heracles in lion's skin.
Boeotia
Alexander
Head
'l[Rev. 9.
CI. 54/55
in field.
AAEEAN
III.
Histiaea
Ambracia
21
JRev.
I
17 18
22 Pelopon-
Aeniis
Lysimachus
20
prow of galley.
OITAHN
Oeta
16
19
CI. 46/48
Boeotia
6 8 9 10
field,
(Ohu. Victory
4 5
Zeus Aetophorus seated; in
BAllAEflZ AHAMHTPIOY. Poseidon standing leaning on trident; monograms BATlAEClT AHAAHTPIOY. Poseidon striking with trident; in field, bipemiis and monogram.
Obv. No. 19. \Rev.
3
335—
B.C.
AAE-ANAPOY.
Reo.
15.
)
Poliorcetes^
CTreece
No.
Ohi).
III.
XII.
Messene
Polvrhenium
Em.
;
MEIIAN inN mil KPA.
Obv. No. 52. Re^), [Obv. Head of Dionysus.] Rev. ^^^^'^9^^- ITAPinN. [Ohv. Head of Zous diademed.]
Mead
;
Zeus Aetophorus thundering
;
in field, tripod r ?
Demeter holding ears of corn and sceptre, seated on cista mystica i?^^. FOPTYN inN. Hunter seated, holding bow and arrows in :
Artemis, with magistrate s name.] '{Rev, lATAN. Artemis holding long torch beside her, dog all in wreath. Obv. Head of Zeus laureate. [Rev. FA. Al. Eagle and serpent.] Obv. Head of Demeter crowned with corn. Rev, No. 47. ^Ohv. Head of Apollo bow and quiver at shoulder, }[Rcv. AY P H N N. Eeinale figure seated, holding Victory below, thunderbolt.] {[Ohv.
01
.
KYAnN
;
;
;
no
I
n
field.]
;
>
B
field
lj, ,
PI.
B.C.
335-146. HELLAS.
xu
PLATE CI.
Amastris
49
Ohv. No. 11. lOhv.
Asia Minor
Nagidua
[Obv. (^Ohv.
Heraclea {Ohv.
Heraolea.
11
Heraclea
14
of
MOn
Lampsacus
146
of Artemis.
Ilias
(
Myrina
i^[Ohv.
Pergamum
11,
^[Ohv.
21
Erythrae
22
Smyrna
23
Bithynia. Prusias
[Ohv.
24
Ephesus
Ohv.
Smyrna
Ohv, Ohv.
27
Heraclea
Ohv.
28
Myrina
Ohv.
29
Magnesia
\Ohv,
Smyrna
32
Cyzicus
Head
:
all
Bow and ;
quiver.]
in field,
name
of magistrate.]
Zeus leaning on sceptre, crowning name of Prusias
;
in field,
Apollo Citharoedus
;
in field,
MYPINAIflN.
of a king.]
Head
of
in
;
lAIAAOI, A\ENE4>P0N0I
field,
Apollo holding patera and lustral branch; at his
A
Rev.
l
AETAI POY.
Rev.
;
KAAX. Rev.
Pallas seated, crowning the
omphalos and
feet,
of Philetaerus
holds bipennis
;
in field,
;
in field, star
H
oriental head-dress, holding spear
[Rev.
Sardanapalus riding
and pomegranate.
seated.
Centaur playing on lyre Forepart of stag
EAIMNAIOI.
;
;
in field,
bee in
monogram.
field.]
[Rev. Similar to No. 19.]
PAKAEHTHN.
of Apollo laureate.
Club
;
in field, Victory
and monograms
;
all
in wreath.]
Rev. No. 17.
of Artemis, cjuiver at shoulder.
magistrate's
in field, E.
Rev. No. 22.
of Demeter, veiled. [Rev.
;
monograms.
Rev.
of Apollo laureate.
bow
BAIlAEnS AHAAHTPIOY 0EOY NIKATOPOI.
young Heracles.] Artemis with
of Pallas.
name
Apollo seated on omphalos, holds arrow and
of Artemis, quiver at shoulder.
;
Athene
I.
ZMYPNAIHN ZAPAninN. Homer, Head of Dionysus.] Rev. BAII AEHI HPOYIIOY.
Head Head Head Head Head Head
TOY MENEct>PONOI.
bee and monogram.
in wreath.
Headofking, bearded.]
tripod
(
Lampsacus
Rev.
28.
Ohv. No. 25.
Chalcedon
A0HNAI
Rev.
EPY TTOJEIAflNI.
(Rev.
25
30
of Pallas.]
on horned beast
(
26
APZI PONEY^.
AAMYAKHNHN, ZflKPATOY TOY 5EN04>AN0Y.
[Ohv. Similar to No. 26.] \[Ohv.
31
Rev.
and bow, and
\
Tarsus
[Rev.
Forepart of stag, palm tree and bee
E0.
BAIlAEfll HPOYXIOY-
Rev.
amphora
\
Demetrius
[Rev.
Club in wreath.]
1.
Lysimachus.
holding spear and sjjindle
No.
<^Ohv.
20
Head
Ilium
Chalcedon
Rev. No.
1.
PY.
[Rev. BI
star.
palm and monogram.
\[Ohv.
19
also countermarks.
thunderbolt and monograms.
(
(
18
surrounded by
?
of Arsinoe, wife of
\Ohv. No. 35.
I.
B.C. 280-
17
;
Heracles erecting trophy.
Head Head Head
(Oiv. No. 30.
16
TIA^O0£OY AIONYIIOY.
Rev.
9.
Ohv. Ohv.
Asia Minor 15
;
;
of Cabeirus
Ohv.
Prusias
of
(
Bithynia
59
beneath
Pallas.
Head
j
13
CI.
Simulacrum of
Ohv.
Ohv.
12
TTEPrAM.
Ohv.
Ohv.
Miletus
Troad Amastris Ephesus
Rev.
Head of Apollo laureate. [Rev, KOAO^H IHNHI. Lyre.] As last. [Rev. AM KAAAAIZXPO J. Lion looking back at star.] Head of Dionysus, thyrsus over shoulder. Rev. No. 6.
Colophon
10
in
;
of Pallas.]
young Heracles in lion's skin.] Dionysus seated, holding wiuecup and thyrsus. Wrestlers letters in field.] Rev. Slinger in field, winged genius and triquetra
Ohv. No.
>
7
Berjtus ia the
Head Head
;
field, rose.]
)
8 9
;
j
Timotheus and Dionjsius
field, rose.
HPAKAEH. Young
\Rev.
Aspendus
Seated Figure, holding Victory and sceptre; in
NAflAlKON TTOAY. Dionysus standing, holding grapes and thyrsus in field, monogram. Aphrodite seated on throne, wearing Stephanos (cf. X. 34) above, winged Eros, crowning her
throne, shrew
(
Pergamum
280
AMAZTPIEHN.
Rev.
;
l\_Rev.
B.C. 335-
XIII.
name
in field
;
all
[Rev.
AAATN HTHN.
Apollo standing on Maeander and leaning on °
in wreath.]
Head of bearded Dionysus, ivy-crowned. Rev. No. 15. Head of deity, wearing turreted crown. [Rev. ZAAYPNAinN and monogram all in wreath.] Ohv. Head of Queen Apollonias crowned with laurel. [Rev, KYIIKHNHN. Torch and monograms all in wreath. \Ohv. Head of King Orophernes diademed. [Rev. BAIIAEni 0P04>EPN0Y NIKH^OPOY. Nike crowning name of king in field, owl on altar, and monogram.] OJy. Head of King Mithradates IV. diademed. [Rev. BAIIAEHS MI0PAAATOY. 2eu8 Ohv.
Ohv.
;
;
Cappadocia 33
Orophernes
;
I
Pontus 34 35
Aetophorus, seated
Mithradates IV, Bithynia. Prusiasl.
in field, crescent
Ohv.
Head
of
and
star
and monograms.]
King Prusias diademed.
Rev. No. 14.
B.C.
335-146. ASIA
MINOR
PLATE XIV. CI. 50
1
!
Further Asia B.C.
Seleucus
Syria.
Parthia.
j
Andragoras
^
Seleucus
Syria.
335—
Obv. No.
I.
I.
280
of a city, turreted
[Obv.
Head
of Alexander in elephant's skin.]
King
(Rev.
Tyre
6
Seleucus
Andragoras Seleucus
10
Obo. Obv.
I.
Sopbytes
ludia.
9
Obv.
iObv.
Seleucus
I.
l[Rev.
60
{[Obv. I
Maratbus
13
jOS^;.
Syria.
Antiochus IV.
280—
Demetrius
15
I.
16
I.
I.
[Rev.
;
above, Phoenician letters.
slaying lion
Bull butting
;
ANAPAfOPOY. Rev. No.
in field, Phoenician letters.
;
below, J.]
King and Victory
in quadriga.]
1.
of Sopbytes in laureate helmet.
BAIIAEHZ SEAEYKOY. Head
Horseman [Rev.
of horse, bridled.
piercing prostrate foe
in field,
;
BATlAEClT lEAEYKOY.
AAAPAOHNHN.
Rev.
of city, turreted.]
Head No.
\Obv.
Mitbradates
behind, monogram,
;
King
Rev.
of Seleucus in helmet, lion's sldn tied round throat.
Rev.
monograms.] in field, bunch of grapes.]
Anchor
;
Apollo holding aplustre and sceptre, seated on shields
BATlAEai. ANTIOXOY GEOY EniANOYI NIKHOPOY.
of Demetrius in wreath.]
holding
\
100 Parthia.
holds owl.
;
The Olympian Zeus,
holding Victory.
I
i[Obv. E.C.
below, two lions.]
;
BAIIAEfll lEAEYKOY.
[Rev.
of a bearded Deity
No.26.
j
14
A
;
in field, date in Phoenician letters.
i
Purtber Asia
Pallas standing
horned head of horse,
in field,
behind, an attendant carrying sceptre and vessel
;
of Medusa.
Horned head
Obv.
12
ANAPAfOPOY.
1flYT0Y. Cock; above, caduceus. Horned head of Dionysus.
Rev.
J)
11
in quadriga
Head Head Head Head
Obv.
I.
;
Rev.
letters in field.
;
amid waves.]
[Obv. Galley in front of walled city
7
8
;
and trophy-stand
Rev. Victory holding wreath
Victory crowning trophy
behind, monogram.]
Head
{[Obv. Galley
5
BAXI AEHI lEAEYKOY.
[Obv.
Siclon
CI.
liev.
8.
club
I
wand and cornucopiae Rev.
31.
BAJIAEni AHMHTPIOY IHTHPOI.
her throne supported by winged
figure
;
Tyche
(fortuna) seated,
and monograms. holding Heracles wine-cup and
in field, date, 161,
BAIIAEHZ AAEFAAOY APIAKOY 4>IAEAAHN0I.
in field, date, 173,
;
;
Rev.
and monogram.
I
Syria. i
17
J[!96y.
Antiochus IX.
(
Demetrius IL
18
I
^[Obv.
Bactria. i
Agatbocles
20
Antialcides
of the king.]
Head
(
;
Rev.
BAIIAEHZ AHMHTPIOY on either side her head
;
of Sardanapalus, the
BAIIAEHZ ATAOOKAEOYZ.
who
carries
;
in field,
Simulacrum
monogram.
Reo.
two torches
NIKATOPOZ.
4>IAAAEA
in field,
Zeus holding monogram.
BAZIAEHZ NIKH4>0P0Y ANTIAAKIAOY. Head ;
The Pyre
letters in field.
s[)ear, star
of the king.]
holding Victory
(
BAZIAEHZ ANTIOXOY 4>IA0nAT0P0I.
Rev.
other, figure of Hecate,
i^Obv. I
Head
of Pallas holding
(
1^
of the king.]
Deity standing on a lion
j[06^'. i
Head
of the king,]
in
one hand sceptre, in the
Rev. Indian inscription.
Zeus
in front, elephant.
t
!
'
\
Antimacbus
21
No.
i^Obv.
I
Euthydemus
22
;
Obv.
II.
;
jO^y. '
Eucratides
field,
(
24
Rev. Indian inscription.
25
Deity wea,ring turreted crown and holdnig long sceptre
;
in field,
monooram.
Syria.
26
j
Antiochus IV.
Head
Obv.
Antiochus VII. Antioclms
29
Antiochus
l[Rev.
(^Obv.
Ptolemy II Mitbradates Bactria.
32
of
([Rev.
BAZlAEflZ ANTIOXOY.
Apollo seated on omphalos
OEHN.
He;xds of Ptolemy
I.
and Berenice.]
)
Obv. Heail of ilithradates, diademed. I.
Rev. No. 16.
J )
33
Antimacbus ( Euthydemus II.
34
Eucratides
Obv.
Head
of the king in causia.
Obv.
Head Head
of the king diademed.
Rev. No. 22.
of the
Rev. No. 23.
Obv.
Head-dress of
Isis
;
in field, date.]
i^ticchus as Hermes.
Head of Antiochus. [Uev. Similar to last.] AAEA'4>nN. Heads of Ptolemy II. and Arsinoe
Obv.
I.
Parthia. 31
Rev. No. 14.
BAZIAEUZ ANTIOXOY EYEPTETOY. Head
II.
Egypt. 30
ZeiLS laiu*eate.
Bust of Eros, crowned with myrtle.
i[Rev. i^Obv.
2H
r)f
j
^Obv.
27
in
Zeus, holding sceptre, and thunderbolt personified in
female figure.
(
;
monogram.
BAZIAEHZ BAZIAEflN A\ErAAOY AAAYOY.
jObv.
Maues
32.
BAZIAEHZ 0EOY ANTIMAXOY. Poseidon holding trident and palm in field, monogram. No. 33. Rev. BAZIAEHZ EY0YAHA^OY. Heracles holding wreath and club in field, monogram. No. 34. Rev. BAZIAEHZ MEPAAOY EYKPATIAOY. The Dioscuri charging, each having palm
{Rev.
kiuii^
helmeted.
Rev. No. 21.
;
;
in field,
symbol and
behind, monogram.
letters.]
PI.
\
18
IS 29
28
^>!**;*— .,
34
B.C.335-100.
FURTHER
ASIA.
XIV
PLATE XV. Copies of Statues
Emisa.
Eagle in front of conical stone in temple.
Caracalla
Elagabalus
Sidon. Perga.
Simulacrum of Astarte
Verus
L.
in car.
Simulacrum of Artemis of Perga between Sphinxes
in temple.
Ephesus. 1
Artemis of Ephesus.
Claudius and Agrippinaj
Commodus
Samos. Myra.
Gordiau
Dardanus. Erythrae.
Kybele protecting a tree against woodmen.
Geta
Sept.
Euromus
Nemesis beside the simulacrum of Hera.
III.
Aeneas carrying
Sevema Nemesis
11
beside simulacrum of Heracles in temple.
The Carian Zeus Labrandeus
3rd cent.
;
beside him, eagle.
Simulacrum of Aphrodite between sun and moon
Hadrian
Aphrodisias. Mytilene.
and leading Ascanius.
in Caria.
Claudius and Agrippina ? 10
off seated deity
a. d,
[Obv.
Head
of Zeus
[Ohv.
Head
of Apollo.]
[Obv.
Head
of Pallas.]
Ammon.]
Ilev.
;
in front of her, Eros shooting arrow.
Figure of Dionysus on a prow
;
beside
it,
Concordia.
Antissa in Lesbos. 12
13
3rd cent.
2nd
Ilium.
cent. B.C.
(Obv. Figure of
Leucas.
14 15* 16
n
2nd
cent. b. c.
Eaustina,
Miletus.
18
Apollo
As
Nero
„
Seleucus
Syria.
22
[Rev.
Name
Ilias
holding spear and spindle
beside her, stag
;
below, thunderbolt. ;
in field, olive-twig.
behind, sceptre surmounted by bird
;
:
all in
Prow.]
of city, &c.
of Apollo.]
of the
BAZIAEni lEAEYKOY.
Rev.
Early statue of Athene.
Zeus of Phidias.
Figure of the Zeus of Phidias. 3rd cent.
Cnidus.
Obv.
A. D.
Cnidus.
21*
Athene
;
the statue of Canachus.
Head
Head
19 20
;
Eev. lAI.
Artemis holding aplustre
of Dionysus
last.
[Obv,
1.
Hadrian
Elis.
wreath.
(
Jun
Head
ANTIZ.
Rev.
B. c.
Caracalla and Plautilla)
2nd
Athens.
cent. a.d.
Alexandria Troas 23
2nd
cent. a.d.
Head
of the Aphrodite of Praxiteles.
„
26
Delphi.
L.
KNIAtHN.
Fortune.]
Figure of the Aphrodite of Praxiteles.
Head
[01>v.
of Pallas.]
A0H NAIflN.
Rev.
The
Pallas of the Parthenon.
j
Apollo Smintheus
statue
;
by Scopas ?
in front, tripod.
)
24* Corinth, Antoninus Pius Hermes seated in temple 25
[Rev.
)
Verus
Faustina, Jun.
;
beside him, ram.
Aphrodite holding
shield, in
Apollo in temple
holds patera, and leans on column.
;
temple on the Acropolis of Corinth.
Chalcis in Euboea.
27
,
Hera seated on
Septim. Severus
rock, holding patera
and
sceptre.
I
Lacedaemon. 28
':
Antigonus Doson
Armed
figure holding lance
\
jAthenian types I
29
Athens.
2nd
i
31
in field, Apollo holding the Graces in his
beside
him goat
hand
(statue at
;
Athenian types.
J)
Sicyon.
i
Alexander the Great
j
in field, wreath.
Delos,
by Tectaeus and
Angelion).
(
30
;
cent. B.C.
I
i
;
and bow (the Apollo of Amyclae)
Harmodius and
Types of Alexander.
Aristogeiton, statues
by Critius^aHd-Nesiotes.
.
"
-
,
.-
'
Male
figui'e
(Apollo holding taenia?).
'
'
Antioch.
32
Tigranes of Syria
Type
of Tigranes.
The Tyche
of Antioch holding
(
From Mionnet's
casts.
palm
;
at her feet, Orontes (statue
by Eutychides).
PI.
^
12
14
18
31
COPIES OF STATUES,
XV
PI. XV.
-;^,
.^^**^^^-,
.#^7^^^
n
re
"
i)^ 12
13 15
14
.^'^^''^
30
COPIES OF STATUES.
3
I
PLATE XVI. Coins of Alliances,
&c.
PI.
F ^m:^'^-
^f^
"^m^^
r*«'
% .^'
WW
1>
^^"^i.
15
)4
COINS OF ALLIANCES
&c,
XVI
