SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS IN THE LIGHT OF RECENT FINDS WITH OBSERVATIONS ON THE CHRONOLOGY AND HISTORICAL OCCASIONS OF THE SYRACUSAN COIN-TYPES OF THE FIFTH AND FOURTH CENTURIES B.C. AND AN ESS A? ON SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS AETHUE J. EVANS, M.A., F.S.A. KEEPEB OF THE ASHMOLEAN MUSEUM AND HON. FELLOW OK BEASENOSE COLLEGE, OXFOED WITH SEVENTEEN WOODCUTS IN THE TEXT AND TEN AUTOTYPE PLATES LONDON BERNARD QUARITCH, 15, PICCADILLY 1892 Stack Annex cr NOTE. The first part of this volume, " Syracusan ' Medallions' and their Engravers," is reprinted from the Numismatic Chronicle of 1891 (Pt. IV.), with the addition of an Analytical Table of Con- tents, Index, and two extra plates (VIII. and IX). The paper on " Artists' Signatures on Sicilian Coins " is reprinted, with some slight emendations, from the Numismatic Chronicle of 1890 (Pt. IV.). 1685215 ANALYSIS OF CONTENTS. SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. PAGK PART I. INTRODUCTION 112 "Medallions": large coins: intended for circulation . . 1 2 Name used for Dekadrachms or Pentekontalitra . . . 1 2 High appreciation of them by Winckelmann and others . 2 4 Bear signatures of Artists Kimon and Evsenetos . . 3 True Conditions of Monetary Art observed by Sicilian Coin Engravers 56 DISCOVEEY OP "MEDALLION" BY NEW AETIST ... 7 Conflicting Views as to date and occasion of " Medallion" issues 8-10 New results acquired by present inquiry . . . . 10 Later dekadrachms connected with Victory over Athenians, as Ddmareteia with earlier Victory over Carthaginians . . 11 LACUNA IN TETBADBACHM SEBIES OF SYBAOTTSE 1 2 PART II. ON A HOARD CONSISTING CHIEFLY OF DEKADRACHMS FOUND AT STA. MARIA Dl LICODIA, SICILY 1326 Contents of hoard . 14 18 Notes on " Medallions " or Dekadrachms in hoard . . 18,19 Kimon' s "Medallions" classified .19,20 "Medallions" of Evaenetos 21 New dekadrachm with full signature EYAINETOY ... 22 Date of tetradrachms found in hoard 23 Santa Maria di Licodia, the ancient JEtna-Inessa . . 24 Chronological indications 25, 26 PART III. A DEKADRACHM BY A NEW ARTIST . 2750 Independent style of new " Medallion " . . . . 27 Obverse type compared with Evaenetos' Kore . . . 28 30 Reverse typo compared with other " Medallions" . . . 30 3& VI CONTENTS. Its greater rhythm and sobriety 31 Angle of Monument seen behind horses .... Perhaps the Judges' stand 32, 33 Peculiar arrangement of reins adopted by Evsenetos . . 33, 34 Evsenetos' quadriga depicted as rounding goal ... 34 New " Medallion " shows arrival of winner .... 34 Panoply in exergue in this case larger . . . . . 35 Inscription A6A A placed in large letters above shield . . 35 Traces of signature ........ 36 Entire divergency from Evsenetos type 36, 37 A certain sympathy with Kimon's style perceptible in this "Medallion" 38 Evidence, however, that it is not Kimon's work . . . 37 39 MUST BE ATTRIBUTED TO NEW AETIST ..... 39 Evidence that new "Medallion" is slightly earlier than those of Evametos 3946 Relation of new " Medallion " to an earlier Syracusan tetra- drachm 39, 40 Severer profile of Kore, &c . 41 Simpler action of quadriga, &c 42 Monumental character of reverse type by New Artist . . 43 Technical peculiarities of new " Medallion " . . . 44 Its large module ; an early characteristic . . . . 45 Abnormally low weight . . . . . . .45, 46 Was the New Artist the creator of this type of Kore popular- ized by Evsenetos ? 46 Probability that the reverse of the New "Medallion" is earlier than the obverse 46, 47 Perhaps originally accompanied by a still earlier version of the Kore 47 New standpoint for comparison of Evsenetos' work . . 47 Evsenetos superior in concentration and perspective . . 47, 48 Pictorial ingenuity of his quadriga 49 Reverse of New Artist more massive and sculpturesque . 50 His portraiture of Kore more delicate and ideal ... 50 PART IV. THE DEKADRACHMS OF KIMON, AND HIS PLACE ON THE SYRACUSAN DIES . . .5184 Kimon's " Medallion" with low relief, earliest known . . 51 53 ' ' Medallion ' ' by New Artist, yet shows earlier type of reverse 51,52 Approaches in date Kimon's Third Medallion type . . . 52 Materials for chronology of Kimon's types .... 52 Anteriority to Evaenetos' "Medallions" . . . . 52 Kimon's type of Arethusa based on earlier design upon tetra- drachms by Evsenetos and Eumenes 54 CONTENTS. Vll PAOK Approximation of style and design to Segestan tetradrachm . 55, 56 Indebtedness of Kimon's quadriga type to early tetradrachms by Evsenetos ......... 57 Synchronism of Kimon's earliest gold staters and his ' ' Medal- lion " type II 58 Early use of Q on Syracusan and Magna-Grecian coins . 59 H and Q used as = Epsilon and Omikron .... 59, 60 Chronological importance of tetradrachm reverse signed EY9 60, 61 This quadriga type by EY9 ... of Kyrenaean origin . . 62, 63 Kyrenaean gold staters . 63 Imitation of Euth . .'s type by Siculo-Punic engravers at Panormos, c. 410 ........ 64 Recent find in Western Sicily 64, 65 Hippocamp on Panormitic Coins imitated at Himera, c. 409 B.C. 65 KIMON'S BAELY " MEDALLION " TYPES IMITATED ON PANOB- MITAN AND MOTYAN COINS STBTTCK IN 410 AND ENSUING YEAE8 66 68 Series of Motyan Coins imitated from Kimon's types . . 68, 69 Kimon's tetradrachm with facing head of Arethusa . . 69 IMITATED AT HIMEEA BY CLOSE OP 409 B.C 70 Close relation of portrait of Arethusa on this tetradrachm to Kimon's " Medallion " (type III.) ...... 71 The " Medallion " ^type III.) slightly later in style . . 71 Early appearance of perspective rendering of facing heads on Sicilian coins ......... 73 Facing head of Herakles at Selinus ..... 73, 74 Imitations of Kimon's facing head of Arethusa in Greece and Asia 74 Its Neapolitan prototype ........ 75, 76 Campanian sympathies of Kimon's style .... 76 Range of Kimon's activity and his connexion with Chalkidian Cities 77 His Employment of Campanian type of Earring . . . 78 80 Earlier forms of Earring on Syracusan Coins ... 78 Period of " Coiled Earring " 78 Introduction of variant forms 79, 80 Earring with triple pendant finally supersedes all others . 79 Origin of floral type of Earring in lotus bud ornament . . 79, 80 CHKONOLOGTCAL CLASSIFICATION OF KIMON'S "MEDALLION" TYPES 8184 Type I., with low relief ....... 81 Type II 81, 82 Earlier gold staters belong to same Period . . . . 82 Type III 8284 Represents profile rendering of his facing head of Arethusa . 82 Type III., A 83 Vlll CONTENTS. i AOT-: Later gold staters belong to same Period . . . . 83 Type in., B " 83, 84 Comparative rarity of Kimon's " Medallions'* ... 84 PART V.THE ARTISTIC CAREER OF EVJENETOS AND THE INFLUENCE OF HIS " MEDALLION" -TYPE ON GREEK, PH(ENICIAN AND CELT . . 85120 Evaenetos' early Syracusan Tetradrachm with signature on tablet held by Nike 8587 His earliest numismatic record . . . . . . 85 Gemlike beauty of the work ....... 85, 86 Signature on dolphin's belly 86 Sensational feature of Evaenetos' early quadrigas . . . 86 Von Sallet on his " early manner " ..... 87 Evaenetos' activity at Katane and Kamarina . . . 88, 89 Evidence connecting him with the Segestan Mint . . 89 93 Segestan Tetradrachm in Evaenetos' s style .... 89 92 Segestan Tetradrachms connected with Athenian Alliance against Selinus and Syracuse ...... 90, 91 Reappearance of Evaenetos at Syracuse in period immediately succeeding Athenian overthrow 93 Engraves dies for new gold coinage 93 Gold hundred- and fifty-litra pieces now struck ... 93 Hoard found at Avola 93 Gold staters bear signatures of both Kimon and Evaenetos . 94 Earlier and later types 94, 95 Reverse of gold staters : Hcrakles strangling lion . . 95 Free horse on gold pentekontalitra : Democratic badge . . 95, 96 Herakles and lion symbol of alliance in Magna Graecia and at Mallos and Tarsos 96, 97 THE FREB HOESE OF GOLD PENTiKOXTALTTRA IMITATED ON EARLY " CAMP COINS" OF CARTHAGINIANS IN SICILY STRUCK c. 406 5 B.C 97, 98 Parallel imitation of half horse on gold litras of Gela . 98 100 Early Carthaginian gold pieces with free horse and head of Demeter . . 101, 102 Early cult of " the Goddesses " at Carthage . . . 102 Absence of Siculo-Punic imitations of Evaenetos' head of Kore in West Sicilian hoard buried c. 400 B.C. . . . 102, 103 Indications that Evaenetos' early "Medallions " were struck c. 406 B.C. 103, 104 Progressive advance in style on Evaenetos' " Medallions" . 105 Latest may have been engraved c. 385 B.C 106 Imitation of Evanetos' head of Kore on Carthaginian and Siculo- Punic coins, effect of propitiatory cult o/"393 B.C. . . 106, 107 Carthaginian and Siculo-Punic copies .... 107,109 CONTENTS. IX Imitations on Carthaginian staters give rise to curious orna- ment on Belgic and Ancient British, coin-types . . . 109 Later Syracusan copies of Evsenetos' Kore . . . 109,110 Imitated by Opuntian Lokrians, Messenians, &c. . . 110,111 On large bronze pieces of Kentoripa Ill At Metapontion and Arpi ...... Ill, 112 At Massalia, Rhoda and Emporise 112 By Iberians, G-auls and Britons 112,113 Evcenetos 1 "Medallion" type with, head of Persephone reproduced, on Gapuan Kylikes imitating silver -ware . . . 113 116 Impressions reduced by a third of their diameter . . . 114 "MedaUion" types of which impressions are extant . . 115 Suggested connexion of Evsenetos with toreutic craft . . 116 Silversmiths' and moneyers' profession combined in Antiquity 116 Indications supplied by his style that Evsenetos was also a gem engraver 117 Signet ring found near Catania with engraving of Herakles and lion as on Evoenetos 1 gold staters . . . . . 117, 118 This intaglio belongs to a class of official signets of which other examples are known 118 Examples of such with civic types of G-ela, Selinus, Neapolis, &c 119, 120 PART VI. THE HISTORICAL OCCASIONS OFTHEDAMA- RETEION AND THE LATER "MEDALLIONS" 121143 General conclusion : earliest of the revived Pentekontalitra date back to c. 415 B.C 121 First issue of these "Medallions" wrongly connected by Cavallari with defeat of Carthaginians in 394 B.C. . . 121 Great probability that revived issue dates from time of Athenian Overthrow o/413 B.C. 122 The earlier Damareteion, named from Gelon's Consort . . 122 Variant accounts of its exact origin .... 123 128 Notices of Hesy chios and Pollux 123 According to Diodoros made from gold crown presented by Carthaginians to Damareta 123, 124 The weight of the wreath reckoned in Sicilian gold talents 124, 125 Comparative weights of other honorary wreaths . . 125, 126 Connexion of Damareteian coinage with erection of votive tripod at Delphi 126129 Epigram of Simonides 127 Both coins and tripod dedicated to Apollo . . . . 128 The Damareteian issue connected with games in Apollo's honour 128, 129 May have partly served as prizes, like Metapontine coins inscribed A\t\oio aiOXov ....... 129 b CONTENTS. Commemorative character of this first " Medallion " issue at Syracuse supplies a precedent for their revival at time of Athe- nian overthrow 129 Other historic allusions on Syracusan coin-types . . 129, 130 Allusion to sea-victory over Athenians : Nike holding aplustre, on reverse of tetradrachm 131 Prize of Arms on "Medallions" a reference to panoplies taken from Athenians ......... 132 Revived pentekontalitra perhaps coined from bullion taken from Athenians 132 Thucydides' account of the shields full of silver collected from the captives 133 Some of the "Medallions " perhaps actual prizes in games 133 135 Money prizes at Greek Games 134 Great prominence of inscription A9AA on new "Medallion " 135 Frequent appearance of A in field of contemporary coins 136, 137 Dr. Kinch's theory that the inscribed names on the coins refer to winners in the Games combated . . . . 136 The A probably stamp of consecration . . . . . 138 Panoply in its direct significance to be taken as a prize in Games 138, 139 Local Sicilian Games 140 THE PRIZE OF ARMS ON THE " MEDALLIONS" CONNECTED "WITH THE ASSINAEIAN GAMES INSTITUTED TO COMMEMORATE ATHENIAN OVERTHROW 141 NiMas' shield described by Plutarch . . . . 141, 142 Panoplies hung on trees along banks of the Assinaros after the victory .......... 142 Special appropriateness, therefore, in connexion with Games in honour of the River- God . . . . . . 142 Import of obverse heads of Arethusa and Persephone . . 143 Date of first celebration of Assinarian Games 143 PART VII. CHRONOLOGICAL CONCLUSIONS BEARING ON THE SYRACUSAN COINAGE . . . 144159 Conclusion that chronology of Syracusan coin-types of Fifth and Fourth century needs radical revision . . . . 144 Period of signed coinage begins c. 440 B.C 144 Later group of tetradrachms belonging to years immediately succeeding Athenian defeat 145 Tetradrachm with head of flying Nike 146 Tetradrachm by IM . . . also pras-Dionysian . . . 147 CONCLUSION THAT ALL SYRACUSAN TETRADRACHMS OF THE FIXE STYLE WERE STRUCK PREVIOUS TO 400 B.C . . . . 148 New letter-forms introduced about 450 440 B.C. in Italy and Sicily ... 148 CONTENTS. XI The latest of the fine tetradrachms still show transitional epigraphy . . . . . . . . . . 148 Summary of chronological results 149, 150 Later ' ' Medallions ' ' of Kimon and those of Evaenetos find no counterparts among tetradrachms . . . . 151 WHY? BECAUSE TETRADRACHMS WERE NO LONGER STRUCK . 151 " Medallions " of Evsenetos later in both style and epigraphy 151, 152 Gap in tetradrachm issue supplied by imported " Pegasi," &c. 152 Cessation of tetradrachm issues probably connected with violent financial expedients of Dionysios I, .... 152 155 Tin tetradrachms struck by Dionysios .... 153, 154 The tin possibly supplied from loot of Motya . . . 153 Parallel suggested by Siddreoi of Byzantium . . . 154 All available silver required for payments of mercenaries . 155 "Medallion" dies probably used after their engravers had ceased to work : perhaps to B.C. 360 155 Silver coinage at Syracuse may have ceased for a while . 155, 156 Variant views as to first coinage of " Pegasi " at Syracuse . 156 Objections to considering them either as late as Timoleon's time or as early as that of Dionysios 1 156 View preferred of Padre Romano referring them to date of Dion's expedition, 357 B.C. 157 Early orthography ^YPAKOION on some . ... 157 Parallel type at Leontini with legend AEONTINON . . 157 This coin of Leontini can only be referred to date of Dion's expedition ......... 157, 158 THESE ALLIANCE COINS EXPLAINED BY SYRACUSAN AND LEONTINE "SYMMACHY" ON THAT OCCASION . . 157, 158 Transitional form of inscription on these coins an evidence of preceding numismatic gap 158, 159 Syracusan bronze Coins of Dion's time overstruck at Ken- toripa c. 350 B.C. with copy of Evaenetos' Kore . . . 159 APPENDIX A. ON A HOARD OF COINS RECENTLY DISCOVERED IN WESTERN SICILY . . 160169 Summary description of hoard 160 167 Salinas on Rhegian tetradrachm of sub-normal weight . . 167 His views as to the date of this coin untenable . . 167, 168 Evidences as to date of West Sicilian hoard . . . 168, 169 Deposited c. 400 B.C 169 APPENDIX B.ON THE DATE OF THE GREAT NAXOS DEPOSIT 170172 Materials as to composition of hoard compared . . 170, 171 Evidences of date supplied by Naxian types . . . . 171 Naxian hoard deposited not later than 410 B.C. . . . 172 Xll CONTEXTS. NEW ARTISTS' SIGNATURES ON SICILIAN COINS. PAGB I. AN EARLIER KIMON AT HIMERA . . . 173180 Tetradrachm of Himera with cock in exergue . . 173, 174 Bathing Seilen, illustration of hot baths of Himera . . 174 Nymph Himera 174 Inscription KIMON on altar 175,176 EAELTEST KXOWN SIGNATURE OF COIN-ENOEAVEB . . . 176 Evidence that this coin dates before B.C. 350 . . 176, 177 Pictorial style of design 177 Compared with bathing scenes in vase paintings . . 177, 178 This Kimon probably grandfather of the later . . . 178,179 Isolated position of later Kimon at Syracuse . . . 179 His Chalkidian connexion 179, 180 II. MAI . . . AT HIMERA 180185 Latest tetradrachm type of Himera 180 Reverse copied from early Syracusan piece of Evsenetos 180, 181 Signature MAI on tablet held by Nike 181 Exergual inscription Tc I for HM EPA .... 181183 Various forms of initial letter of Himera on coins . . 182, 183 Chimsera on Himersean coins 182 Connected with form KIMAPA 182 This coin struck not later than 409 B.C. .... 183 Himera utterly destroyed by Carthaginians in 409 B.C. . 183, 184 Therma or Thermae founded on site of baths . . . 184 Importance of early date of above coin in its bearing on quadriga schemes of Sicilian coins .... 184, 185 III. THE LATER KIMON AT MESSANA . . 186189 Tetradrachm of Messana with Nymph's head and inscription FEAQPIA^ 186, 187 Perhaps traces of Kimon's signature on it . . . . 187 Kimon's signature on another Messanian tetradrachm . 187, 188 Nymph Pelorias personification of Capo del Faro . . . 188 Her attributes, cockleshell and ear of corn . . . 188, 189 IV.EVARCHIDAS AT SYRACUSE .... 189193 Elucidation of name due to Prof. Salinas . . . 189, 190 Accompanies reverse of coin signed on obverse by Phry- gfflos 190, 101 CONTEXTS. Xlll PAGK Aplustre held by Nike commemorative of Naval Victory over Athenians . 191, 192 Parallel group of quadriga -types thus dated . . 192, 193 V.PARME . . . AT SYRACUSE 193, 194 New position of signature on Arethusa's neck . . 193, 194 Similar position of signature of Evsenetos on neck of Hipparis 194 VI., VII SYRACTTSAN HEMIDRACHMS Y EV^INETOS AND BY * AND EY 194, 195 Hemidrachm by Evaenetos with signature E . . . 194 Hemidrachm with 4> and EY, probably by Phrygillos and Evarchidas 195 V111.EXAKEST1DAS AT KAMARINA . . . 196199 Forms of Exakestidas' signature on Kamarinaean coins . 196 Tetradrachm with new signature on diptych . . 196, 197 Syracusan influence on Kamarinsean dies . . . 198, 190 Materials for dating newly discovered tedradrachm . . 190 APPENDIX TO NEW ARTISTS' SIGNATURES ON SICI- LIAN COINS 200 New signature of Kim on on reverse of a "Medallion" of Type II 200 WOODCUTS IN THE TEXT. !. PAOK 1. " MEDALLION " BY NE\V ARTIST 30 2. HEAD, BY EUMENS 40 3. QUADRIGA TYPES ON KYRENJEAN GOLD STATEBS . . .63 4. COPY OF KIMON'S ARETHUSA ON BRONZE COIN OF HIMERA . 70 5. TRIOBOL OF SELINUS 73 6. LOTOS ORNAMENT AND EARRINGS 79 7. GOLD LITRA OF GELA 99 8. CARTHAGINIAN " CAMP-PIECE ": TETRADRACHM . . . .100 9. THE " DAMARETEION " 129 10. SYRACUSAN TETRADRACHM, WITH HEAD OF NIKE . . .146 11. 12. "PEGASI" STRUCK BY LEONTLNI AND SYRACUSE IN ALLIANCE 158 13. SIGNATURE OF EARLIER KIMON AT HIMERA . . . .175 14. SIGNATURE OF MAI . . AT HIMERA 181 15. SIGNATURE OF EVAHCHIDAS AT SYRACUSE 190 16. SIGNATURE OF PARME 193 17. SIGNATURE OF EXAKESTIDAS AT KAMARINA 197 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS, IN THE LIGHT OF RECENT FINDS. PART I. INTRODUCTION. THE " medallions " of S}Tacuse have been the admiration of the ancient and modern world. From the Seventeenth Century onwards they have been the subject of frequent discussion on the part of numismatic writers, and the historic circumstances connected with the issue of the earliest of them, the Damareteion, whose name records the wife of Gelon, 1 arrested the attention of ancient writers, who, as a rule, were little prone to afford us information about numismatic matters. The view of the earlier numismatists that these fine coins were " medals " in the modern sense of the word, and not intended for circulation, has long been abandoned, and it has been generally recognised that they served, in fact, as current coins, of the value of fifty Sicilian silver litras, or ten Attic drachma?-. Yet, from their abnormal dimensions, the extraordinary artistic skill devoted to their production and, as will be shown in the course of this 1 For the Damareteion see Part VI., p. 122 seqq. 15 2 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. inquiry, the special circumstances under which they were originally struck, and which place them in a certain degree outside the category of ordinary coins, it does not seem inappropriate, even in the present state of our knowledge, to apply to them the name of " medallions," by which they were till lately generally known. " Medal- lion," in fact, in the etymological sense of the word, means simply " a large coin," and in this sense Italian numis- matists often apply the name " medaglioncini" or " small medallions," to tetradrachms, which have nevertheless always been regarded as current coins. The Syracusan " medallions " struck towards the close of the Fifth Century B.C. have specially arrested attention, on account of the marvellous art that they display. The heads that appear upon these coins are of two main types that of the Nymph, Arethusa, with her luxuriant tresses contained in a beaded net ; and an even more beautiful head of the Maiden Goddess, Persephone, or, if that name for her should be preferred, Demeter Chloe, crowned with the earless barley spray, green and growing, so appro- priate to her inner being, as symbolizing the yearly up- springing of Nature to life and light. Of this head Winck- elmann remarks that "it transcends all imagining," 2 and elsewhere he asks : " Might not Raffaelle, who complains that he could not find in Nature any beauty worthy to stand for Galatea, have taken her likeness from the best Syracusan coins, since in his days with the exception of the Laocoon the finest statues were not yet discovered ? Beyond these coins human comprehension cannot go." 3 2 Winckelmann's Werke (1808 20), iv., 134. (Kunst- leV. c. 2, 26.) Winckelmann (op. cit. 1. 251, Erinnerung ueber die Be- trachtung der Werke der Kunst). " Hdtte nicht Raphael, der INTRODUCTION. O A new interest has, since Winckelmann's time, been added to these splendid coins by the recognition of the fact that the names of Kimon and Evaenetos that appear upon them are those of the artists who engraved the dies, and who worked for other Sicilian cities besides Syracuse. 4 sich beklagte zur Galatee keine uiirdiye Schonheit in der Natur zu-finden, die Bildung derselben von der besten Si/racusanischen Mi'mzen nehmen kdimen, da die schonsten Statuen, answer dern Laocoon, zu seiner Zeitnoch rticht entdecket waren? Welter ah diese Muiizen kann der mcnscldiche Begriff nicht gehen." Payne Knight (Archfrolof/ia, xix. p. 375) says of the Syracusan "medal- lions," " to the sublime perfection of these coins no work of man of a similar description has hitherto even approached." 4 The first to point out that the signature " KIMHN " repre- sented the name of the engraver was A. von Steinbiichel (in the Vienna Jahrbiicher der Literatur (1818), B. II. p. 124 ; cf. the Anzeigeblatt for 1833, p. 60). About the same time the same conclusion was independently put forth by Payne Knight, in his essay on The Large Coins of Syracuse (Archceologia, vol. xix. (1821), p. 869 seqq.), who was followed by Noehden, in his Specimens of Ancient Coins of Magna Grcecia and Sicily, from Lord Northwick's cabinet (London, 1826, p. 41 seqq.). Haver- camp, in his commentary on Paruta's Sicilia Nunrismatica (p. 307), had been much puzzled by the name (" Nomen illud Cimon, seu KIMflN, me multum torquet," p. 807). He came to the conclusion that it was a magistrate's name. It is to the Due de Luynes (Annali delV Institute, &c., 1830, p. 85), and Raoul Rochette, in his Lettre a M. le Due de Luynes sur les Graveurs des Monnaies Grecques (Paris, 1831, p. 19 seqq.), that the credit belongs of first detecting in the signature " EYAINE" beneath the head of Persephone on the fellow- medallions, the name of the engraver, Evffinetos (EYAINE- TO^), which occurs in a fuller form on tetradrachms of Syracuse and Katane. These conclusions as to the true meaning of the signature on these coins have been borne out by more recent writers : [cf. , especially Von Sallet, Die Kunst- lerinschriften auf yriechischen Miinzen (Berlin, 1871) ; Head, Coins of Syracuse (1874), p. 19 seqq. ; Poole, Brit. Mus. Cat., Sicily ; Gardner, Types of Greek Coins, and the excellent work of Dr. Rudolf Weil, Die Kunstlerinschriften der sicilischen Munzen (Berlin, 1884, p. 10 seqq. ; 19, &c.)]. Brunn, (Kunstlergeschichte,\\. 246) almost alone amongst modern writers, 4 SYRACUSAN "MEDALLIONS AND THEIR ENGRAVERS. Various efforts have been made in this connexion to contrast the style of these two artists, but the scale has generally weighed in Evaenetos' s favour. " If we only possessed Kimon's piece," observes Lenorraant, " it would justly awaken in us our entire admiration and would be cited as a type of inimitable perfection. But it .pales beside the work of Evsenetos. The style of Kimon superior as it still is to the finest works that the Renais- sance itself has produced in monetary art appears smaller by comparison with the other. . . . Kimon is a great artist : Evsenetos is the greatest of all in the branch that he has cultivated. He is the Pheidias of coin -engraving." 5 As refuses to allow that the signature on Evaenetos' dekadrachms and gold pieces refers to the engraver, although he accepts the view that the smaller signature with this name on the tetradrachms is an engraver's signature. So, too, at Katane, he allows that the signature EYAINETO on the tetra- drachms is an artist's signature ; but the EYAI which appears more conspicuously on drachms of the same style, with the head of Amenanos, cannot, he says, be accepted as such. " Otherwise," he continues, " we lose every criterion for distinguishing an engraver's name from any other." According to this view, then, it is more reasonable to believe that there were two contemporaries named Evaenetos at Syracuse, both signing on the coins, one a die-sinker and the other not, and that the same extraordinary coincidence occurred at Katane ! But, as I have pointed out in my Horsemen of Ta rent um (p. 116 seqq.), the coin-engravers of Sicily and Great Greece sign in two qualities, both as artists and as responsible mint officials. Sometimes one character is conspicuous in the sig- nature and sometimes the other (cf., too, Weil, op. cit. p. 24). For Kinch's theory, see p. 136. 8 Gazette des Beaux-Arts, 1868 (15), p. 338, 339. Mr. Head in his Historia Nuniontm (p. 155), says, " Of these two magnificent dekadrachms (of Kimon and Evaenetos), one that is signed by Euainetos is the chef d'ceuvre of the art of coin- engraving." Mr. Poole, Gieeh Coins as llluxtratinci Greek Art (Xiirn. Chron., 1864, p. 244, seqij.), also gives the palm to Evaenetos. He admits that " nothing more delicately finished INTRODUCTION. to the actual school to which the works of Kimon and Evaenetos are to be referred, Lenormant would detect that of Polykleitos rather than Pheidias ; but there seems, in truth, to be no good reason for seeking the artistic tradi- tions here represented beyond the three seas of Sicily. 6 Certainly we have not here the bold and simple style of some of the coins of Greece proper, and the detail and ornament of these "medallions" has been a stumbling- block to some who would transfer the canons of high art in sculpture to the narrow field on which the die-sinker exercised his craft. But it was precisely because the great Sicilian engravers took a juster view of the require- ments of their special branch of art that they attained, at such a surprisingly early date, 7 a perfection not to be found elsewhere in Hellas, and that their masterpieces surpassed in beauty and interest all but a very few excep- tional pieces to be found throughout the length and breadth of the Greek world. The gem-like finish of the details, the decorative richness, the more human beauty of the features that they represented, the naturalistic gleanings from the Sicilian fields around from air and has been produced by Greek ar-t " than Evaenetos' Persephone, and that " the first impression is very pleasing," but complains that, " you cannot magnify it without becoming aware of a want of expression," and that the treatment of the hair is intensely artificial, with shell-like and snake-like curls that are suggestive of the hot irons and ' artists in hair ' of conventional life." Lenormant, on the other hand, remarks, " Regardez pendant quelque temps une monnaie gravee par Evenete et bientot vous oublierez les dimensions exigues de 1'objet que vous tenez a la main." 6 Some terra-cotta female heads from Syracuse and the neighbourhood show much the same artificial arrangement of the locks of hair as is seen beneath the net on Kimdn's "medal- lions" (cf. Kekule, Die Terracotten von Sicilien, Taf. x.). 7 Cf. Gardner, Types of Greek Coins, p. 131. 6 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. sea thrown into their designs, were regarded by the artists of these dies as altogether appropriate to this class of small relief in metal-work. It is by this standard of appropriateness, and by no other, that the masterpieces of Kimon and Evsenetos, and that of another Artist, of whose work we shall pre- sently speak, must be judged. To the greater works of Greek statuary and relief, in ivory or marble, warmth and variety, and even minute detail, far beyond our present ken, was supplied by calling in the painter's and the goldsmith's art. Even in bronze-work mono- tony was avoided by the inlaying and overlaying with gold and silver ; diamonds might sparkle in the eyes, diadems and torques of precious metal might glitter about head and neck, and the helm or shield of God or Hero might glow with many-hued enamels. But in the smooth, glistening surface of a coin there was no opportu- nity for such adventitious adornments polychrome, chrys- elephantine, or the like. Limited in relief, the outlines yet could not be thrown up by colour contrasts. Hence, according to the canons of Greek taste, there was the greater need for luxuriant detail and minutely decorative treatment of surfaces ; for the avoidance of bare back- grounds 8 by a more picturesque treatment of the design itself, and the insertion of accessory objects of beauty ; for 8 In the case of too many coins of Greece proper this is effected by the procrustean process of cutting their background off altogether and covering almost the whole field with the central design. Nothing, for instance, can be nobler than some heads of Zeus and Hera on the coins of Elis. But they are designed for dies half as large again as those actually used. They remind us of gems torn from their sockets. There is a clipped air about such coins. INTRODUCTION. infusing the divine forms portrayed with a greater glow of liveliness and life to make up for the golden hair, the flashing eyes and roseate lips, that were beyond the reach of the die-sinker's art, but which, in the case of the greater works of sculpture, might serve to reconcile severer outlines. It was this which the Sicilian engravers instinctively perceived, and it is this which raises them, in their own profession, above the level of their fellow- workers in the greater art centres of the Mother-Country, who seem too often to have misconceived the true condi- tions of their craft. Of what this art of the Sicilian coin-engravers was capable at its best, a new and splendid illustration has been now supplied by a recent find brought to light on the slopes, and from beneath the lava, of Mount Etna. The piece in question, which is a principal theme of the present monograph, and which will be of interest not to numismatists only but to all lovers of art in its widest sense, is nothing less than a Syracusan " medallion " by a New Artist. His designs, as shown by this coin, may be set beside the works of the two rival engravers without losing by the comparison, while, in some respects, they strike a higher note than either. The head of Kore, indeed, that he has here created for us, is a vision of beauty, transcending any impersonation of the Maiden Goddess that has been handed down to us from ancient times. It has, moreover, a special value from the light it throws on the same portrait on the dekadrachms of Evaenetos, and as supplying a new and unhoped-for standpoint of com- parison for surveying the masterpiece of that engraver. And, as will be shown in detail in the course of this study, 9 9 See p. 39 seqq. 8 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. there are grounds for believing that the head of Per- sephone, as she appears on his famous " medallions," is, in its main outlines, derived from that of the New Artist, though the more modern genius of Evaenetos has assimi- lated and transformed it. The hoard which contained this unique monument of medallic art has also supplied a new and later version of the "medallion" types of Evaenetos, presenting, for the first time, his signature in full. The deposit itself, of which a summary account will be given in the succeeding section, was chiefly composed of Syracusan "medallions," by Kimon and Evaenetos, and this hoard, together with a further important find of Greek and Siculo-Punic coins, recently unearthed in Western Sicily, 10 has supplied some new and valuable data for determining the chronology of these splendid pieces, and for enabling us to solve more than one problem connected with the Syracusan coin types of the last quarter of the Fifth, and the first of the Fourth, Century B.C. For, great as has been the interest attaching to these " medallions," many of the most elementary questions re- garding them remain unsolved. Earlier writers, who j udged a Greek type as they would a Roman, had no difficulty in tracing on the panoply on the reverse of these coins a direct reference to a victory in war gained by the Syra- cusans, though they might differ as to what triumph it com- memorated. 11 3 n more recent times the better view has pre- 10 See Appendix A. 11 So, for example, Don Vincenzo Mirabella, in his Dichiara- zioni della Pianta dell' antic e Siracuse e d'alcune scelte Medaglie d'esse (Naples, 1613, Medaylie, p. 29), writes of one of Kimon's " medallions " : " Varme . . . poste di sotto, significano quelle de yVinimici vinti, eschtdono i pensieri di coloro che han creduto INTRODUCTION. vailed that the trophies seen beneath the chariot on the reverse of these coins, coupled, as they are, with the in- scription AOAA, must, primarily at least, be referred to an agonistic contest. 12 With regard to the date of these " medallion " issues, again, various views have been put forward, on the grounds of style and epigraphy. The Due de Luynes attributed them to the last years of Dionysios the Elder, or to the reign of the younger tyrant of the same name. 13 Von Sallet brings down even the earlier work of the Syracusan artist, Phry- gillos, to the Fourth Century, " several decennia before Philip of Macedon." 14 Leake considered that the occur- essere stata intagliata per vittoria sacra 6 di Giouochi Olimpici, 6 somirflianti. Restarebbe a vedere ; se per qualche congettura potes- simo intendere, per qual particolar vittoria fosse ella stata ordi- nata, se contra gli Ateniesi, Cartaginesi o Siciliani, il die certo sarebbe temeritd, voler di certo affermare." In spite of this caution, he inclines, on account of the great size of the coins, to the victory over the Athenians. Havercamp, in his com- mentaries on Paruta's Sicilia Numismatica (Leyden, 1723, p. 306), connects these coins with Timoleon's triumph over the Carthaginians. 12 Eckhel's position (Doctrina Numorum, i. 243) is some- what intermediate. " Quoniam numi pra3sentes eximii sunt voluminis ac ponderis verisimile est factum aliquo tempore ut qui virtute panopliam essent promeriti numis his publice dona- rentur. Erunt qui malent hsec praemia ad relatas in ludis vic- torias referre. At turn horum erit commemorare etiam exempla victores in ludis panoplia donari fuisse solitos." Noehden, Specimens of Ancient Coins of Magnet, GrcBcia and Sicily, p. 42, seqq., rightly meets this objection. 13 Numismatique des Satrapies (1846), p. 63. This must be considered a rectification of his earlier view (Revue Numisma- tique, 1840, p. 24), that they belonged to Hiketas' time a conclusion based on the fact that Evsenetos' head of Persephone was imitated on Hiketas',.gold coinage. 14 Rwistlerbvtchriften nnf GriechiscJten Miinzen (1871), p. 40. " Die Zeit ivclcher die Silbcr- nnd Kupfernmnzen des Phryyillos anyehoren inrd durch das knrzc O "" Stadtnnmen, durch die C 10 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. rence of the n on the dekadrachms showed that they were later than 403 ; 15 on the other hand, from the signature EYAINETO, on the earlier tetradrachms by Evaenetos, he places these in the Fifth Century. His con- clusion with regard to the (Jekadrachms of both artists is, that they belong to the time of Dionysios I. It had been already urged by Payne Knight 16 that it was "to the combination of power, skill, wealth, liberality, and ambi- tion," represented by the Dionysii, that these " medal- lions " were owing ; and this view, which has, as we have seen, met with general favour by numismatists, has derived powerful support from Mr. Head's careful classi- fication of the Syracusan coin-types in his special work on that subject 17 and, again, more recently, in his Historia Numortunl* The result of the present inquiry is, in one direction, to confirm the prevalent view so far as it concerns the reign of Dionysios I., but in another direction to go beyond it, and to show that the earliest issues of these " medallions " must be referred to the moment of exultation and expan- sion that immediately followed the Athenian overthrow. This conclusion is based not only on the evidence brought to light by the recent discoveries but on extensive typo- auch bei Eumenos vorkommende Puickseite wit EYO> und (lurch die Bustrophedon-Legende des Namens ungefahr bestimmt ; win kann die Mi'mzen in das vierte Jahrhwidert, melirere Decennifii vor Philipp von Macedonian setzen." Friedlander, Arch. Zeit. 31 (1874), p. 102, places the coinage of these dekadrachms in the Fourth Century. 15 Transactions of the Royal Society of Literature (2nd series, 1850, p. 361), and cf. Xumismata Hellenica, p. 73. 16 Archaologia, xix. (1821) p. 374. % 17 Coins of Syracuse, pp. 20, 21. Dr. Weil (Kiinstlerin- schriften, &c., p. 30) takes a similar view, carrying back the earliest of these dekadrachms to the end of the Fifth Century. M P. 154. INTRODUCTION. 11 logical studies, and, in a principal degree, on data supplied by the more or less contemporary coinages of Western Sicily Greek, Punic, and Elymian. The. " medallions " of Evsenetos and the commoner of Kimon's issues may be safely brought within the limits of the Dionysian period. But some earlier specimens of Kimon's handiwork, the chronological importance of which has been curiously over- Booked, perhaps too the noble piece by the New Artist, can be shown to go back to a somewhat earlier date. Moreover, the approximate year to which, by a variety of concordant indications, this first re-issue of pentekontalitra of the old Damareteian standard can be traced back corresponds so exactly with the date of the great victory over the Athe- nians that we are able, as in the case of the prototype struck after Gelon's defeat of the Carthaginians, to estab- lish an occasion at once religious and historical for this numismatic revival. In other words, the first issue of these later "medallions," with the prize trophy beneath the racing chariot, connects itself in the most natural way with the New Games instituted at Syracuse to commemo- rate the "crowning mercy " of the Assinaros. Apart, however, from this numismatic record of one of the most tragic episodes in history, which this inquiry seems to establish, the fresh chronological data brought out by this comparative study lead to some new conclu- sions regarding the dates of the Syracusan coin-types in general, belonging to the best period of art. These conclusions, to which attention has already been partly directed in my paper "On some New Artists' Signa- tures," 19 tend to throw back what may be called the Period of the Signed Coinage at Syracuse to an earlier date than 19 Num. Chron., 1890, p. 296 seqq. (p. 173 seqq. of the present volume). 12 SYRACUSAN " MEDALLIONS " AND THEIR ENGRA.VERS. had hitherto been thought possible. On the other hand, they expose a lacuna in the tetradrachm coinage during the Dionysian period which suggests some curious numis- matic problems. The result to which we are inevitably led by these typological researches is, that by about 400 B.C., the tetradrachm issues of Syracuse entirely break off. The noble pentekontalitra, from the early days of Dionysios' tyranny onwards struck abundantly by the Syracusan mint, stand forth as the sole representatives of the large silver issue during this period, as if any smaller denom- ination were unworthy of Syracusan magnificence. What tetradrachms there were in circulation, excepting the survivals from the abundant issues of earlier date, were supplied by the "camp-coinage" of the Carthaginian mercenaries and the autonomous pieces of the half- in- dependent Punic cities of the Island. The small change was, however, to a far larger degree provided by the " Pegasi " or ten-litra staters of. the Mother-City, Corinth, and some sister colonies, till such time as the Syracusans began to strike them in their own name. This first coin- age of Syracusan " Pegasi " dates, as will be shown by a conclusive example, from the time of Dion's expedition. PART II. ON A HOARD CHIEFLY CONSISTING OF SYRACUSAN DEKADRACHMS, FOUND AT SANTA MARIA DI LICODIA, SICILY. IN January of last year a peasant digging in his plot of land at Santa Maria di Licodia, a small town that lies on one of the Westernmost spurs of Etna, found a pot con- taining over eighty silver coins, no less than sixty-seven of which were Syracusan dekadrachms or pentekontalitra. According to the account given me, the deposit lay beneath a layer of lava. The coins were at once taken into Catania, where I saw them a few days afterwards, and was thus fortunate enough not only to be able to take down a summary record of the contents of this remarkable hoard, but to secure at least temporary possession of some of the most interesting specimens. A portion of the coins, perhaps owing to the action of the lava, had suffered con- siderably, large parts of the surface having flaked off on one or other of their faces. There were, however, among them about a score of " medallions " in really brilliant condition, including one which from the unique type presented both by its obverse and reverse, and from the marvellous beauty and finish of its design, must take its place among the greatest masterpieces of Syracusan art that have come down to our time. The following is a brief account of the hoard. 14 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. SYRACUSE. Dekadrachms by Kimon. N .- f c y in hoard. 1. Obv. Head of Arethusa, in net, in low relief (Type I.). Inscr. SYPAKOSIUN. J on band of the sphendone above the forehead. Rev. Quadriga, &c., in Kimon's usual style, and KIMIIN on exergual line of reverse. (PI. I, fig. 5. As B.M. Cat., Syracuse, No. 100.) 2 [In good condition.] 2. Obv. Head of Arethusa, in net, in different style and high relief. (Type II., var.) Kl on band. (It is uncertain whether an inscription also existed on the dolphin beneath the head.) Eev. As before. Inscription, AOAA, visible be- neath panoply ...... 1 [Somewhat worn ; obverse die shows traces of fracture.] 3. Obv. Similar head to No. 2. (Type II., var.) In- scription, K on band, which is exceptionally broad. No inscription on dolphin. Eev. Same. (Cf. PI. II., fig. 1 ; B. M. Cat. 205,206.) 2 [Head in one case well preserved, in the other fair. The reverses of both much worn.] 4. Obv. Head as No. 3 but hi finer style. (Type III.. A.) K on band, which is narrower; KIMflN on dolphin. Eev. As before ....... 2 [Well preserved. Of one of these coins I saw only the obverse, the original reverse was pro- bably in bad condition and it had been accordingly sliced off and replaced by a reverse of a medallion by Evsenetos, the head of which had been probably defective. This ingenious fraud, which came under my notice some time after the date of the dis- THE SANTA MARIA HOARD. 15 No. of coins in hoard. covery of the hoard, was so well executed that it had already deceived one practised numismatist. It was no doubt executed by the notorious Catanian coin-forger, Bianchi.) 5. Obv. Head of similar type to No. 4, but of coarser workmanship. (Type III., B.) K on band and KIMflN on dolphin beneath neck. Rev. Similar. (B. M. Cat. 202, 203). . . 1 [Obverse well preserved and freshly struck. The reverse, however, seems to have been struck from a die that had become much oxidized.] Dekadrackms by Evcenetos. 6. Obv, Head of Persephone to 1., wreathed with barley leaves. Inscr., ^YPAKO^IflN above ; around, four dolphins ; and beneath the head full signature, EYAINETOY. Rev. Quadriga, with horses in high action. Nike above and panoply below (PI. V.,fig. 14; Cf. B. M. Cat., Syracuse, 175, &c.) . . . 1 [In brilliant preservation.] 7. Obv. Head of Persephone wreathed with barley leaves as before. Signature EYAINE more or less visible beneath the head. Rev. Quadriga, with horses in high action, and arms below. In one instance the inscription A0AA was visible below. (PI. V., fig. 13 ; B. M. Cat. 175.) 15 [In various states of preservation. Some brilliant. The reverses especially had in some cases much suffered from sulphurous action ; in other instances the reverse die showed signs of wear and oxidization.] 8. Obv. Similar, but A beneath chin ; EYAINE, as before, beneath head. Rev. Similar. (PL V., fig. 12; B. M. Cat. No. 173.) 4 [Fair preservation, but in one case the reverse die had been in a foul (probably oxidized) con- dition when the coin was struck.] 16 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. No. of coins in hoard. 9. Obv. Similar, but no signature or letter in f. visible. 1 Rev. Similar . . . . . . .15 [Various states of preservation. The reverses es- pecially had in several instances much suf- fered from sulphurous action.] 10. Obv. Similar head, &c. No signature or letter in f. Globule under chin. Rev. Similar. (B. M. Cat. 179.) ... 7 [Mostly badly preserved.] 11. Obv. Similar head, &c. No signature or letter in f. Dot or globule beneath chin, and behind head, cockleshell. Rev. Similar ....... 1 [Fair, but reverse die had been considerably worn before the coin was struck.] . 12. Obv. Similar head, &c. No dot beneath chin, but cockleshell behind head. Rev. Similar. (PL V. 11 ; B. M. Cat. 186.) . 13 [Various states of preservation, from tine to in- different.] 13. Obv. Similar head ; no dot ; behind head a star of eight rays. Rev. Similar. (B. M. Cat. 185.) ... 1 [Somewhat worn.] 14. Obv. Similar head. Behind, to r., a head of a griffin. Rev. Similar. (B. M. Cat. 187.) ... 1 [Indifferently preserved.] Dekadrachm by a Neiv Artist. 15. Obv. Head of Persephone in a severer style, and with more flowing hair. Inscription : ^YPAKO^ IHN, removed to lower cir- cumference of coin. 1 It is, however, probable that had these coins been better struck the signature EYAINE would have been found. THE SANTA MARIA HOARD. 17 No. of coins in hoard. Rev. Quadriga, &c., in new style, passing stand (?); action of horses less high and more rhyth- mic ; arms larger and more ornate ; and inscription, A0AA, in large letters above shield. In r. hand corner of exergue, signa- ture f^ or H< (?) in microscopic characters. PL IV., and p. 80, fig. 1. (For full descrip- tion, v. infra, p. 27 seqq.) .... [Brilliant condition.] Syracusan Tetradrachms. 16. Obv. Damareteion type. (B. M. Cat. 64.) . [Worn.] 17. Obv. Style of Eumenes ..... [Somewhat worn.] 18. Obv. SYPAKOSIO*. By Eukleidas (?) (As B. M. Cat. 192.) Rev. As B. M. Cat. 194, &c [Well preserved.] 19. Obv. [* YPAKO * iniSI]. Female head to r. in korymbos. (B.M. Cat. 180.) (Cf. p. 146, fig. 10). Rev. Persephone, &c. (B. M. Cat. 224.) . [In bad condition,] 20. Obv. [3YP . . . .] By Phrygillos: traces of insc. 4>PY on band of sphendone. (See Num. Chron. 1890, PI. XVIII, 66. Cf. B M. Cat. 158.) Eev. Probably by Evarchidas (v. infra, p. 131). Persephone holding torch, crowned by Nike, who also holds aplustre. (Cf. B. M. Cat. 224.) [A good deal oxidized, otherwise fair.] MESSANA. Tetradrachms. 21. Transitional type : olive-leaf beneath biga (B. M. Cat. 26.) [Worn.] 18 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. No. of coins in hoard. 22. Somewhat later Transitional type; dolphin under hare ; two dolphins beneath biga. . (Cf. B. M. Cat. 38.) [Worn.] 23. Obv. MES 3ANIO/V. Head of Pelorias, beneath hare, with inscription, HEAQPIA ^ , round it. Rev. Biga of mules galloping. (See PL X. 3a, and p. 186 seqq., for full description, &c.) [Somewhat worn.] SELINUS. Tetradrachm. 24. Obv. As B. M. Cat. 30. Rev. Apollo and Artemis in slow quadriga, behind which is an ear of barley .... [Fair condition.] MOTYA. Tetradrachm. 25. Obv. Head copied from the Arethusa on Kimon's dekadrachm. Type H. Rev. Crab. (Cf. PI. II., 8.) .... [Slightly worn.] 26. ATHENS. Tetradrachms. Archaic Style . SUMMARY OF HOARD. SYRACUSE : Dekadrachms by Kimon .... 8 Dekadrachms by Evaenetos, signed 20 ) _ ft unsigned 38) Dekadrachm by New Artist ... 1 Tetradrachms ...... 6 MESSANA, Tetradrachms ..... 3 SELINUS, Tetradrachm ..... 1 MOTYA, Tetradrachm ..... 1 ATHENS, Tetradrachms . . . . .2' Total . 80 THE SANTA MARIA HOARD. 19 There were, in addition to the above, a certain number of " Pegasi," but these had unfortunately been mixed up by the owner with a quantity of similar coins from another source. It may be convenient first to consider the few non- Syracusan coins discovered in this remarkable deposit. Of these the tetradrachm of Motya, the obverse of which represents a copy by a Siculo- Punic artist of the profile head of Arethusa in the net, as seen on Kimon's deka- drachms, is of the greatest rarity. The Selinuntine reverse type, on which a large barley spike shoots up behind the chariot, appears to be a new variety. 2 The most important among the non-Syracusan coins found in the Santa Maria hoard is unquestionably the Messanian tetradrachm already published in the Numismatic Chronicle? Of the Syracusan tetradrachms contained in the hoard, the most remarkable was that with an obverse signed by the artist Phrygillos, associated with a reverse type by the newly discovered engraver Evarchidas, about which enough has also been said in the above-cited paper. It is, however, with the Syracusan dekadrachms con- stituting the great bulk sixty-seven out of eighty of the Santa Maria deposit, that we are on the present occasion specially concerned. Of these, eight were the work of Kimon, fifty-eight of Evaenetos, and one of a hitherto unknown artist. In the case of both of the two former engravers, the hoard supplies internal evidence that the issue of these silver fifty-litra pieces must at the time of their deposit 2 This coin has since been acquired for the Museum of Palermo. 3 Vol. x. 3rd Ser. (1890), p. 285 seqq. New Artists' Signatures on Sicilian Coins (p. 186 seqq. of the present volume). 20 SY.RACUSAN "MEDALLIONS" AIS T D THEIR ENGRAVERS. have been already many years in duration. Not only do we find a considerable variety of types, but the signs of wear displayed by many of the coins show that they had been already several years in circulation. Other examples again afford interesting evidence that the dies themselves had in some cases suffered considerable damage in the course of use. Thus the obverse die of No. 2, signed by Kimon, had sustained a fracture, and, on the other hand, the reverse dies of several dekadrachms of Evaenetos and one of Kimon were evidently in a very foul condition at the time that the coins were struck, the impressions showing evident traces of the oxidization of the matrices. 4 The reverse dies in other cases had been much worn. 5 The dekadrachms signed by Kimon, which for reasons to be fully stated later on I have placed first in my list, afford interesting evidence of artistic evolution. The earliest of his Arethusa heads, No. 1, is executed in the flat relief of the preceding Syracusan coinage, and stands, as \ve shall see, in an intimate relation to an early tetradrachm type of Evaenetos. To this succeeds the effigy in bold relief, of which, however, there is traceable an earlier and a later class. Of the earlier class, No. 3 is a good ex- ample ; it approaches the flatter original head in the broad character of the sphendone band above the fore- head. Finally, on the third class exemplified by the obverse of 4 and 5 the band is narrower. These classes have been distinguished in my list as Types I., II., and III. The dekadrachms of Evaenetos found in this deposit consist of nine main types, 6 and as in the case of Kimon's 4 Cf. especially Nos. 5, 7, and 8. 5 Cf. Nos. 7, 11. 6 Owing to the somewhat summary study of the bulk of these coins, to which, by the circumstances of the case, I was THE SANTA MARIA HOARD. 21 coinages, show greater variety in the obverse than in the reverse designs. The types represented in the find are already known, with one remarkable exception, but some of the specimens are of interest from their brilliant con- dition and the illustration that they supply of variations on points of detail. The reverse of a specimen of No. 12 (PI. V. fig. 10) exhibits a very beautiful figure of Nike, with a waving top-knot on her head, a feature not yet noticed on these coins. It is remarkable that in only a single case, the very beautiful coin reproduced on PI. V. fig. 12, and PL IX., was the legend A0AA beneath the arms in the exergue clearly defined. The obverse head of this piece, beneath which the upper part of the signature EYAIN E is visible, is also of extraordinary merit, and with the fine coin with A in the field reproduced in PL Y. fig. 11, gives a good idea of the masterpieces of this artist at his best. From a comparison of the style of the different types represented, it results that some of the unsigned deka- drachms are slightly anterior in date to the earliest of those on which the signature of Evaenetos appears. These early characteristics are especially noteworthy on the coins with a cockle behind the head of Kore (PL ^f., fig. 10), which are conspicuous for their larger and grander ren- dering of the Goddess's head, as well as for the less sensational character of the chariot group on the reverse. Of the signed dekadrachms, the earliest seem to be those reading " EYAIN E," accompanied by the letter A in the field, which in all probability must be regarded as an indication of value, and as standing for AeKa.lpayfj.ov. obliged to restrict myself, I have not in the case of Evaenetos' coins attempted to indicate all the varieties of die or of detail in. the arrangement of the civic inscription. 22 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. Of all the types of Evaenetos represented in this hoard, the latest is unquestionably No. 6, on which the signature appears at full length as EYAINETOY. 7 This interest- ing type seems to be altogether unpublished. No coin with this inscription or of this type exists either in the National Collection or in any to which I have had access. A single example of this type occurred in the present hoard, and a phototype of it is given on PI. Y. fig. 14. It will be seen that the head of Kore on this coin is re- markably small and lacks the grandeur of some of Evae- netos' earlier works. The hair is less wavy and luxuriant. The quadriga shows very high action and belongs to the more sensational reverse types of this artist. The weight of this dekadrachm is 663 grains (42*9 grammes). The most remarkable discovery brought to light by the present hoard is, however, unquestionably the dekadrachm summarily described under No. 15. It represents the work of a new and hitherto unknown artist on the Syra- cusan dies, and though the head of Kore that it exhibits shows distinct affinities to the type of Evaenetos, both the obverse and reverse of this truly magnificent piece present specialities of style, design, and epigraphy which place it in a category by itself. Leaving this coin to be fully described and discussed in the following section, and taking a retrospective survey of the hoard as a whole, we may obtain a few indications 7 In Hi-storia Xunwrum, p. 154, the full inscription EYAI- N ETOY is cited as accompanying the coin referred to as Fig. 100, which is taken from a specimen in the British Museum (Cat. No. 173) and in which the A appears in the field of the obverse. Mr. Head, however, informs me that this is due to a printer's error, and that the last three letters of the signature should have been in brackets. The full legend EYAIN ETOY, as seen on the Santa Maria piece is associated with a much later head. This coin is now in Mr. H. Montagu's cabinet. THE SANTA MARIA HOARD. 23 bearing on the date of its deposit. The general character of tetradrachm types associated with the "medallions," is unquestionably somewhat earlier than we should have otherwise expected. Yet it must be observed that the same peculiarity was present in an even more marked degree in the important find of coins recently made in Western Sicily, described by Professor Salinas, in which dekadrachms, both of Kimon and Evaenetos, were associ- ated with Sicilian tetradrachm types, the great bulk of which belonged to the period when O was still in use in place of 1. Of the present find the coin of Selinus showed the older epigraphy, as did two of the Messanian tetra- drachms, while the third of that city illustrated the transition from O to H, the older form being adhered to in the civic name, the new appearing in the name of the Nymph Pelorias. Of the Syracusan tetradrachm s, one belonged to the older Damareteian type, two were the work of Eumenes, one, No. 18, probably by Eukleidas, who uses the form 3YPAKO3IOS, which skilfully avoids the necessity of pronouncing between the older and the newer letter-form, and may be regarded as a charac- teristic product of the time of transition. The obverse of the coin signed by Phrygillos (No. 20), unfortunately does not show the termination of the civic inscription, but this artist employs both forms of orthography. No. 19 alone, though very badly preserved, unquestionably originally bore the inscription ^ YPAKO^ IIIN. It would, I think, be unsafe to bring down any of these types beyond 405 B.C., while most of them are certainly anterior to 410. On the other hand, from the fact that on the dekadrachms the use of the newer form of fl is universal, and that at the time when this hoard was 24 SYRACTJSAN "MEDALLIONS*' AND THEIR ENGRAVERS. deposited many of them had evidently been several years in circulation, it is probable that the more recent, at least, belong to a distinctly later date than any of the tetra- drachms with which they were associated. Santa Maria di Licodia, where the present hoard was discovered, corresponds, approximately at least, with the site of the Sikel stronghold of Inessa that lay between Hadranum and the Galeatic Hybla, on the ledge of lower hills immediately below Mount Etna to the South-West. 8 On the removal hither of the population of Hieron's ^3Etna from Katane, in 461, this city succeeded to the name of -ZEtna, by which it was henceforth known. The successful operations of the Carthaginians during the first years of the Fourth Century B.C. against Messana and Katane, in- duced Dionysios to withdraw to this place the Campanian mercenaries, hitherto stationed, in the Syracusan interest, 9 at the latter city, and henceforth, to Timoleon's time, .ZEtna became a stronghold of the Dionysian dynasty. Considering that the site of the present discovery lies in the neighbourhood of Katane, with which ^tna- Inessa was historically so intimately connected, the entire absence of Katanaean coins from this hoard itself affords strong evidence that it was withdrawn from cir- culation at a period when the autonomous coinage of Katane itself had for some time ceased, while, on the other hand, the fact that seventy-three out of eighty coins were from Syracusan dies points strongly to the conclu- 8 Strabo, vi., 2, 8, and 23. Freeman, Sicily, vol. i. p. 148. 9 Diodoros, lib. xiv. c. 60. The Campanian mercenaries seem to have withdrawn to Min& between the capture of Messana by Himilkon in 396 B.C., and the capture of Katane which resulted on the naval victory of Magon. For a moment jEtna became the headquarters of Dionysios himself. THE SANTA MARIA HOARD. 25 sion that the date of its deposit lies well within the limits of the Dionysian period. From the fact, already noticed, that many of the dies used were cracked and oxidized, and that nearly all the chief known varieties of " medallions," both by Kimon and Evsenetos, were represented in the hoard, it is evident that their issue had gone on for a considerable period of years before the date of its deposit. In a succeeding section I hope to show that the earliest Syracusan dekadrachms were first struck during the years that immediately suc- ceeded the Athenian siege, those of Evaonetos beginning about 406 B.C. This artist had already, at an earlier date, perhaps as early as 425 B.C., engraved tetradrachms in an earlier " manner " for the Syracusan mint. If we allow another score of years for the period of his later activity, which also shows a marked development in style, his latest "medallion" dies would reach down approximately to 385 B.C. It is, however, by no means impossible that the dies of both Kimon and Evsenetos may have been used for some time at least after those artists had ceased their activity ; and the state to which some of the dies used for the coins of the present deposit had been reduced may be held to favour this view. On the other hand, however, the absence from this hoard of Siculo-Punic tetradrachms of the later types imitated from Evsenetos' " medallions," which are other- wise of constant occurrence in this as well as other parts of Sicily, is a significant fact. The coins of Herakleia Minoa (Rash Melkart) struck in the period immediately succeeding 383 B.C., when Dionysios restored it to the Carthaginians, show that soon after that date these Punic copies of Evsenetos' head of Kore and the accompanying quadriga had become the usual types of 26 SYRACUSAN "MEDALLIONS" ASD THEIR ENGRAVERS. Carthaginian Sicily. That "Camp coins" with these types had been struck at Panormos or elsewhere at a somewhat earlier period than the autonomous issues of Hash Melkart is undeniable, and there seem to be good grounds for believing that the introduction of the type of Evaenetos' Persephone, on the coins struck by Carthage for her Sicilian mercenaries, was part of the atonement for the violation of the Syracusan sanctuary of " The God- desses " by the troops of Himilkon in 395 B.C. 10 The absence of any specimen of this abundant Siculo-Punic class from the present hoard makes it difficult to bring down the date of its deposit many years later than 380 B.C. Hoards of coins may be divided into two main categories those, namely, which represent the character of the local currency at the moment of their burial, and those the accumulation of which has been more gradual, and which, therefore, represent selections from the current coinage of a more or less extended period of years. It is to this latter class that the present find unquestionably belongs. Many of the coins found in this deposit, which are, typo- logically, the earliest, such as, for instance, the " medal- lions " in Kimon's first style of low relief, are, nevertheless, among the best preserved. It is evident that in this hoard we have the savings of some individual put by year by year, and the comparative state of preservation of the different types contained in it does not, therefore, supply us with the same chronological data that would have been derived from a hoard of the other kind. 10 Cf L. Hiiller, Xumismatique de Vancienne Afrique, ii., pp. 110, 111. PART III. A DEKADRACHM BY A NEW ARTIST. THE great prize of the Santa Maria hoard remains, how- ever, to be described. This is the dekadrachm (fig. 1, p. 30) of which a phototype, enlarged to twice the diameter, appears on Plate IV. The obverse exhibits the head of Persephone to the left, wreathed with barley-leaves, and with four dolphins playing around as in Evsenetos' well-known design. The present type, however, differs in important particulars from all known examples of Eveenetos' handiwork. The face of the Goddess as here seen, beautiful as it is, reveals her to us in a new and severer aspect. The quadriga on the reverse, and the panoply below it, appear on a grander scale, and upon both sides of the coin the inscription is differently arranged. A careful analysis of the design, both on the obverse and reverse of this superb "medallion," shows divergences of style and execution that betray a different hand. The microscopic delicacy of the engraving on the present coin is indeed alone sufficient to place it in a category apart, and a minute comparison, which I had the advantage of making in Mr. Head's company, between this piece and the fine series of dekadrachms from the hand of Evaenetos in the British Museum, convinced us both that the newly discovered 28 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. " medallion " could not be the work of that artist during any period of his activity. The eyes of the Maiden Goddess, as portrayed for us on the present coin, are longer in proportion to their height 1 and rendered more in accordance with the earlier tradition. The angle at which the upper and lower eye- lids meet is less than in the case of Evaenetos' work, . the pupil of the eye is somewhat smaller and, except where slightly cut by the line of the upper eyelid, visible in its entirety, in contradistinction to those of the other artist, which are always more or less in profile. In these respects the proportions of the eye show a greater affinity to those observed by the engraver Kimon in his dekadrachms exhibiting the head of Arethusa in high relief. The present delineation is, however, of unrivalled delicacy. Both the pupil and iris are indicated with micro- scopic fineness, and the upper line of the under eyelid reveals a peculiarity which at once links it on to the work of the earlier Syracusan masters, as distinguished from that of the later school represented by Evaenetos. In the age preceding the date of the engraver Eumenes 2 the under eyelashes were often fully reproduced. Eumenes himself at times reduced them to a mere line of dots, and after 1 The length of the upper eyelid is - 36 mill, as compared with 0-25 mill., the approximate average on fine signed coins of Evsenetos. The length of the lower is O25 mill, as compared with 0-20 mill. The height of the eye itself is 0-14 mill, as compared with about O16. On the other hand the proportions of the eyes on the new " medallion " almost exactly tally with those of Kimon's Arethusa head on his dekadrachms of high relief. These Kimonian dimensions may be approximately given as 0'3o mill, for the length of the upper eyelid, O25 for that of the lower, and 0'15 for the height of the eye between the upper and lower lids. - For this form of the name see p. 60. DEKADRACHM BY NEW ARTIST. 29 his time they disappear from the Syracusan dies. Beneath the eye of Kore, however, as she is here depicted, the lashes are still traceable in a series of minute punctuations, so finely engraved on the upper edge of the lid that they are only visible to ordinary sight with the aid of a strong lens. The nose is more purely " Grecian " and free from the slight incurving at its spring that characterizes Evaenetos r profiles, both early and late. It is more delicately modelled, and shows no trace of that slight heaviness about the nostrils that always somewhat weights the beau- tiful face of the Goddess as she appears on the rival dies. The outline of the neck flows in a softer undulation ; the bow of the chin is not so full. The lips are more crisply cut, and a prouder, perchance a sadder, expression hovers about their corners. It is as if the fatal pomegranate-seed had passed them and left its taste of immortal bitterness. In proportion to the module of the coin the maximum relief is a shade lower, 3 but the locks of hair, the ear and corn- wreath are, nevertheless, more deeply engraved. The curving spikes and folded sheaths of the barley-spray are themselves rendered with greater fulness and naturalistic detail. But besides these more subtle discrepancies which reveal themselves on a minute analysis of the type before us, there are other differences in arrangement and design that must strike the most casual observer. The inscrip- tion ^ YPAKO^ HIM, which on all other coins of this class surrounds the upper part of Persephone's head, is 3 The greatest relief of the head is in this case 0*29 mille- metre above the flat surface of the coin. In the case of a fine dekadrachm of Eva3netos in the British Museum (with the in- scription A) the relief is 0*33 mill. 30 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. here with fine artistic instinct transferred to the lower circumference of the coin, thus occupying the space reserved by Eveenetos for his signature on some of his dekadrachms. The field is thus set free for a new and luxuriant development of " the Maiden's " curling tresses, which flow upwards and outwards, and seem " to wanton in Sicilian air," while others twine like bindweed about the curving spikes of the corn-blades. Beneath and in front are the usual four dolphins which define the Fig. 1. " Medallion" by New Artist. character of the young Earth Goddess here as Lady of Ortygia in a wider sense, perhaps, as Lady of the Isle of Sicily but the ampler field around has enabled the artist in this case to endow them with fuller and more graceful forms, and thus to introduce minute naturalistic details such as the double ring round the eye-socket. They are as nearly as possible one-third larger than the dolphins on Evsenetos' dies, 4 and the lower of the four is placed in immediate contact with the section of Perse- phone's neck, so that it seems to bear up her head. 4 The average maximum breadth of the dolphins' bodies on this coin is 0-28 mill, as compared with an average of about 0-19 mill, on signed dekadrachms of Evaenetos. The average length is 1'36 mill, as compared with 1*25 mill. DEKADRACHM BY NEW ARTEST. 31 The reverse type of this remarkable " medallion " stands equally apart from other coins of the same class. We have here, indeed, as upon the ordinary dekadrachm dies, the victorious quadriga and the panoply below, but we see them in a new and grander aspect, and with im- portant variations in the character of the inscription and the design. It cannot be denied that in the disposition of the horses' hind legs upon the dekadrachms of Evsenetos there is an element of discord. They intersect one another at broken intervals, and in every variety of the design an ungraceful feature is supplied by two hind-legs of the second horse being placed on the ground together, an arrangement which is besides an impossible one, since it involves a prolongation of the horse itself to over half its natural length, while the foremost horse, on the con- trary, is unduly shortened. In the action of the team, moreover, there is perceptible a tendency towards that sensationalism which is so characteristic of the tetra- drachm types by the same artist, with their tangled and trailing reins, broken chariot wheels, and overset goals. On the newly-discovered piece, on the other hand, though the distance between the fore and hind-legs of the foremost horse is still too small, the scheme as a whole is severely controlled within the limits of sobriety and harmony. The horses step together in perfect rhythm as if to the music of some stately paean, and it is less the straining of the racer that is here portrayed for us than the crowned victor's measured course. The steeds them- selves are of full and noble build, and entirely free from that slight attenuation of body which is the defect of Evsenetos' more agitated compositions. They impress us with an overpowering sense of largeness altogether dis- 32 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. proportionate to the field that holds them. We seem to be surveying a reduction of some great work of bronze or marble, and indeed it would be hard to match the blended power and beauty of the group before us outside the Parthenon frieze. A new feature is supplied in the present design, of which there is no trace on any known dekadrachm. This is the appearance beneath the forepart of the second horse of an angular ridge, the continuation of which may be traced above its head. 5 The effect produced in a perpendicular direction is identical with that exhibited below horizontally by the steps on which the arms are set out, and gives the spectator the appearance of a corner of masonry rather than of an Ionic column, such as by the analogy of other Sicilian coins we should expect were this intended to indicate the goal. It is further to be observed that, as the horses ran against the sun, the goal would have been on the left, which is here the nearer side. 6 It would seem therefore that the ridge in the background here represents the angle of a monument that overlooked the course and the extremity of which, here represented, marked the winning-line on the side opposite to that on which stood the columnar goal. It is from the summit of the erection thus indicated that Nike flies forward to crown the charioteer, and it seems possible that we have here an indication of a stand on which the judges sat who decided on the issue of the race, Victory herself, whose statue, perhaps, crowned the whole, here standing for the more mortal arbiters of the contest. s This continuation of the line above the horse's head shows that this feature in the design is intentional, and that it cannot be referred to a mere flaw in the die. 6 As, for instance, on the reverse of a tetradrachm of Katane, signed by Evaenetos (B. M. Cat. No. 35). DEKADRACHM BY NEW ARTIST. 33 In this connexion it will be remembered that on more than one ancient monument some coins of Elis and Terina may be taken as numismatic examples Nike is seen perched aloft on a base or cippus, and the explanation of this may probably be seen in* a design on a beautiful red- figured vase found at Chiusi, the main subject of which is a wrestling match between two youths. 7 Here Victory is seen seated above on a high basis or " stand " watching the match below, and evidently in the position of the umpire. Another feature in which the present design differs from that of all other known dekadrachms is to be seen in the perfectly horizontal position of the goad held by the charioteer, the further end of which is hidden behind the horses' heads. In every other case the goad is held aslant, its upper portion visible above the horses' heads. Its level aim on the coin before us harmonizes well with the even action of the team itself, and seems to regulate their perfect time. The arrangement of the reins again essentially differs from that adopted by Evaenetos, and presents a much closer agreement with that of Kimon. On Kimon's dekadrachms, which present the particularity of exhibit- ing the up-turned end of the chariot pole, the nearer rein ascends and forks into two bridles, one on either side of the nearer horse's head. . Two reins are seen across the necks of the two central horses, while the outermost horse on the farther side of the quadriga is controlled like the first by a single bridle on either side. On Evaenetos' dekadrachms the reins radiate more slightly from the hand of the charioteer ; of these all four cross the neck of the nearest horse, three that of the second, two of the third, 7 In the Ashmolean Museum at Oxford. F 34 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. while the farthest horse is governed, on the side visible to the spectator, by a single rein which passes over the necks of all the others a remarkable arrangement, which was doubtless resorted to in order to secure a greater control of the horses in rounding the goal. 8 It is obvious that at that critical point in the course a greater pull is required on the two outermost horses, which would have a tendency to fly off at a tangent, and this additional hold on them was apparently gained by passing the reins over the breasts of the two inner horses, so that they served as a kind of living pulley to the outermost. It is the moment of turning that Evaenetos has here depicted for us. The outermost steed, pricked by the goad, springs forward, wheeling to the left, while with his left hand the charioteer draws in the reins so as to pull round the nearer horses. In the case of the New " Medallion," on the other hand, we find, as already observed, that the arrangement of the reins differs entirely from that adopted by Evaenetos on his dekadrachms, 9 while showing a closer agreement with that of Kimon. The reins here start straight and level from the driver's hands, while a single rein runs across the neck of each, dividing into two before it reaches the horse's bit. The horses themselves step together, and the horizontally extended goad well indicates that all is now straightforward. It is no longer the turning in the course that we have before us here. It is victorious arrival. 8 Since this was written I notice that the same explanation had occurred to the Due de Luynes (Ann. dell' Inst. 1830, p. 86). 9 On his tetradrachms (which are of a decidedly earlier date than his dekadrachms) Evaenetos conforms to the arrangement found on the new dekadrachm. This arrangement was in fact the usual one, both on coins and other monuments of this period. DEKADRACHM BY NEW ARTIST. 35 Equal distribution and even-handed government cha- racterise the whole of this noble composition. On the other hand, the treatment of the horses' manes affords a strong piece of internal evidence that this magnificent design is from the graver of the same artist who executed the luxuriant tresses of Persephone as she appears upon the obverse of our " medallion." While upon all the hitherto-known dekadrachms by Evaenetos and Kimon the manes of the horses are regular and close-cropped, they are here seen curling upwards over the horses' fore- heads and toss about their necks in waving locks. The hair of the charioteer also attains a new development and streams behind him in the breeze. The prize armour in the exergue is exhibited in its entirety. It is of larger make than that of the known deka- drachm types, it differs in arrangement, and presents a greater variety of detail. The shield is broader and more shapely. The crest of the helmet rises over the exergual line ; its upper part is decorated with a kind of anthernion, and its cheek-piece exhibits a relief, apparently a seated Sphinx. Sprays of foliage, perhaps of olive, run along the sides of the greaves, and the front of the cuirass and border of the shield show traces of ornament ; the thorax is turned to the left instead of to the right as on all other " medal- lions." The most striking divergence from the received type is, however, to be seen in the legend AOAA, which, instead of being relegated in small type to the narrow space beneath the cuirass, in the very rare cases where it is preserved at all, 10 is here inscribed in large letters 10 Among fifteen more or less select dekadrachms of Evaenetos in the British Museum, the inscription AOAA is only legible on a single specimen. In the Cabinet des Medailles at Paris, which is especially rich in this department, the proportion is 36 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. across the open space above the shield. As a consequence of this arrangement the thorax, which on all other deka- drachm types occupies the exact centre of the space below the quadriga, is pushed somewhat to the right, the slight overweighting of that side of the exergue that might seem to ensue being skilfully counterbalanced by the angle of masonry that rises above the exergual line on the other side- Finally, in the corner behind the helmet are traces of what appears to be a small monogram somewhat resembling H< or NC, with possibly another letter. In this monogram we cannot hesitate to seek th'e name of the engraver of the " medallion " itself. Unfortunately, it is not clear enough on the coin to supply a certain reading, but so much may be regarded as certain that no ingenuity can connect it with the name of Evaenetos. The minute analysis of the design already given has enabled us to detect such an array of divergencies, alike in style and detail, from all the known works of Evaenetos, that even without the signature we should be justified in concluding that the die of this remarkable dekadrachm was executed by another hand. That slight varieties exist among the dekadrachm dies of the rival artists is of course well known. But amongst all these variations, certain fixed limits are laid down which are never over- passed. The place of the legend on both obverse and reverse, the eyes, profile, and expression of the Goddess, the general arrangement of her hair, of the reins and goad in the hands of the charioteer, the distribution of the legs about the same. On the remaining dekadrachrns of the Santa Maria hoard it was only preserved in two examples one on a coin by Evaenetos (PI. V., fig. 12), and tbe other, but imperfectly, on a coin signed by Kimon. DEKADRACHM BY NEW ARTIST. 67 of the horses, their cropped manes and the absence of the perpendicular ridge behind, the character and position of the armour in the exergue these are so many constant features on the whole series of Evsenetos' " medallions " every one of which is set aside in the present instance. It might, perhaps, be argued, on the other hand, that we have here a record of an attempt of Evaenetos' great rival and contemporary, the engraver Kimon, to excel him in his own chosen subject, the head of the youthful Goddess, or that we have here from Kimon's hands the original of the type which Evaenetos afterwards made his own. Attention has already been called to certain features in which the obverse head of the newly discovered piece shows a distinct sympathy with Kimon's style of por- traiture. The eye and profile of Persephone as here delineated, the dolphin below her neck and the folds of the neck itself, are all Kimonian. The extreme delicacy and minuteness of the work is more nearly approached by some of Kimon's earliest dekadrachms of lower relief than by any of Evsenetos. The flowing locks of the Goddess may themselves recall the facing head of Arethusa by the former artist. Upon the reverse, again, the arrangement of the reins corresponds with that on Kimon's dies. The figure of the flying Nike betrays the same affinity. It must, however, be borne in mind, that all the known pentekontalitra from the hand of this engraver are asso- ciated on the obverse with the head of Arethusa, and that all are signed both on the obverse and reverse. The reverse signatures, moreover, are all in full on the exergual line, and neither the method nor position corresponds with the present example. In the monogram if monogram it be on the New " Medallion " a K indeed apparently occurs, but it does not seem to be the initial letter, and 38 STRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. the abbreviated forms of Kimon's signature known to us are either a single K or Kl or KIM. The chariot and horses again here presented differ as radi- cally from those on any known dekadrachm of Kimon as from those of Evsenetos. Kimon's reverse types are indeed unvarying. From his earliest " medallion " with the head in low relief to hi& latest work in high relief, we have the same scheme of the quadriga, two of the horses of which have their hinder pair of legs placed together on the ground, a scheme which is the starting point of Evaenetos' types, who, however, diminishes the ungain- liness of the effect by confining himself to a single pair in this position. 11 How different from this is the rhyth- mic movement of the horses' legs on the new " medal- lion " ! It is inconceivable that an artist who had once hit on a design so beautiful and harmonious should have reverted to such a comparatively crude and ungraceful scheme. If we turn again to the panoply below, it will be seen that Kimon's arrangement answers in every respect to that adhered to by Evaenetos. The cuirass is placed in the centre, the shield and helmet balanced against each other, while the A0AA is transferred to the lowest exergual space in small letters. The armour itself is of comparatively diminutive size, and the cuirass is turned to the right. On the whole, then, in spite of some sympathies ex- hibited in the style, we are reduced to the conclusion that 11 It is observable, however, that whereas Kimon's scheme is, so far as it goes, a possible arrangement and is reconcileable with the horses' dimensions, that of Evaenetos is impossible, and requires us to stretch the body of the second horse to half an additional length (see p. 81). The motive of the hind legs set together on the ground is simply a survival from the Archaic and early Transitional coin-types. DEKADRACHM BY NEW ARTIST. 39 there is no warrant for regarding the present " medallion " as the work of Kimon any more than of Evaenetos. We have no alternative left but to recognise in this master- piece of artistic skill the work of a new and hitherto unknown engraver of the dekadrachm dies of Syracuse. The work itself stands apart from the tradition alike of Kimon and Evaenetos, and represents an independent essay of the highest merit in this branch of numismatic art. It will, nevertheless, be observed that the fine head of Persephone on the present coin stands in a very close relation to Evaenetos' rendering of the same subject. Up to a certain point one artist has copied from the other. The same is true with regard to certain features on the reverse, and notably the introduction of the armour grouped on the steps beneath the chariot. The interesting questions remain To whom is due the original at least, so far as concerns numismatic art of this exquisite type of the young Goddess ? By which of the two artists was first suggested the magnificent com- bination of the prize arms with the victorious quadriga ? In other words, must the issue of the piece before us be regarded as earlier or later than that of the first deka- drachms of Evaenetos ? In this connexion it becomes important to consider in what relation the present dekadrachm stands to Syracusan types of the earliest period of the signed coinage, and that immediately preceding it. The luxuriant development of Persephone's hair is, as already noticed, somewhat suggestive of Kimon's master- piece, the facing head of Arethusa (PL III., 4, 5). The flowing curls of our coin find also a certain analogy in the tetradrachms of Eukleidas, struck about the year 415 B.C., which apparently portray the nymph Arethusa diving 40 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. down into her pool with her tresses streaming upwards. A ruder but in some respects still nearer precedent is, however, supplied by a tetradrachm type from the hand of the older master Eumenes, in which a female head is seen bound round twice with a cord, while above and below loose curling tresses flow out from the whole crown of the head. Fig. 2. Head, by Eumenes. In the evolution of the head of Persephone upon the dekadrachm before us, this earlier type has evidently played a part, and the incurving of the lower part of the back hair is itself a decorative " survival " of the impress made upon it by the cord that confined it on the earlier design. The upper boundary of this cluster of hair is again marked by a depression which represents the channel, if such a term is applicable, of the second cord that confines the back tresses of the prototype. The upper line of the cord, moreover, as it crosses the top of the head, seems actually to suggest the line followed by the uppermost spike of the barley-wreath on the deka- drachm. The Syracusan coin types grow ; they are not, as a rule, invented off-hand and without reference to pre-existing monetary traditions. Great as is the advance on the ruder work of Eumenes and other older artists exhibited by the noble dekadrachm types, surpassing as was the DEKADRACHM BY NEW ARTIST. 41 artistic skill with which the earlier details were absorbed and transformed into what, to the unhistoric observer, may seem purely original compositions, traces may yet be found in their beautiful and harmonious lines of the older elements out of which they were evolved. The head of Arethusa as she appears on Kimon's fifty- litra pieces may be traced back in the same way as the design before us to atraditional type handed on by Eumenes to his successors 12 . Taken in connexion with the tetra- drachm head by the same Eumenes, exhibiting a perfect halo of curling tresses, the effigy of Kore as she appears on the newly discovered "medallion " has for us a new interest, as supplying, as it were, an intermediate link between this older creation and the head of the Goddess as she appears on the well-known dekadrachm series of Evsenetos. And so far as the present type shows a greater approach to this pre-existing design, so far it supplies us with an argument for regarding it as anterior in development and date to the dekadrachm heads of Evaenetos. If this conclusion be correct, we must suppose that Evaenetos restored the civic inscription to its more usual place around the head, at the cost of some of Kore's superabundant tresses. In the treatment of the eye, again, as already pointed out, the better perspective of Evaenetos' rendering represents a distinctly later stage of artistic development. The purer Greek profile, and the comparatively large size of the dolphins on the new " medallion," are also character- istic of an earlier period. The inference to which we are thus led by an internal analysis of the obverse type of our dekadrachm, that it represents rather the original than the copy of the head 12 See p. 54 seqq. G 42 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. of the Kore, as she appears on the parallel coinage of Evsenetos, is strongly reinforced by a consideration of the reverse design of the same piece. Here we have to deal with a simpler and grander form of the quadriga, which typologically at least, is certainly anterior to that asso- ciated with Evsenetos' handiwork. The action of the horses in this case is altogether free from that sensational element which characterizes the signed dekadrachms of Evaenetos, and which, during the years that preceded Dionysios' dictatorship, was rapidly gaining momentum on the Sicilian dies. It is strange indeed that the same artist who, in his head of Persephone, may be said to trespass on the domain of painting, should on the other side of the same piece have executed what is unques- tionably the most sculpturesque and monumental of all the Syracusan coin-types. Yet, as already shown, there are certain points of sympathy between the obverse and reverse designs, such as notably the free treatment of the horses' manes, which tend to show that, as in the case of all known dekadrachms, both sides of the coin are by the same hand. The abandonment of the regular close- cropped type of mane, such as is seen in the Pheidiac school of sculpture, in favour of a naturalistic rendering, is so far as it goes an advanced characteristic and an anticipation of one of the finest features of the horses on the Fourth-Century Tarentine Coinage ; a similar tendency is, however, already seen on the noble dekadrachms of Akragas, struck before 406 B.C. The fuller and less attenuated forms of the horses recall those of the Akragantine engraver MYP, 13 who seems to have 13 B. M. Cat., Agrigentum, 53, 54. There is an excellent reproduction of this type in Weil, Die Kiinstlerinschriften der aicilischen Miimen, Taf. i. 13. DEKADRACHM BY NEW ARTIST. 43 flourished during the years that immediately preceded 406 B.C., the date of the destruction of that city. As compared with the other dekadrachm types of Syracuse, their proportions are more in keeping with the canon of Kimon, whose earliest *' medallions," as I hope to show in the succeeding section, are somewhat anterior in date to those of Evsenetos. On the other hand, there exist some early reverse types of dekadrachms by the latter artist u in which the action of the horses is less agitated than in his usual scheme, and which, perhaps, supply the nearest attainable comparison to the quadriga on the present coin, though the disposition of the horses' legs on Evsenetos' designs suffers from the usual defects, and both the bear- ing and proportions of the steeds on the Santa Maria type are very distinctly nobler. The influence of the New Artist on Evasnetos seems to be distinctly traceable in these pieces. The more intimate relations in which, upon the newly discovered pentekontalitron, the steps and panoply below stand to the quadriga above, afford a further and most important argument for the anteriority of the present type. On the " medallions " alike of Kimon and Evsenetos, the exergual arrangements appear as mere subsidiary details. The pictorial schemes of the chariot and horses above have no need for an architectural base on which to support them. But the presentation of the quadriga by the New Artist is, as we have seen, of a very different character. It is wholly monumental, and at once suggests the fact that the artist had in his mind's eye some indivi- dual anathema, either in bronze or marble. The steps corroborate this view, and may be taken actually to repre- 14 Cf. especially PL V., fig, 10. 44 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. sent the graduated base of a monument in every way ap- propriate to a hippodrome, and upon which the arms that served as prizes in the contest were actually placed. When too on the dekadrachms by the other artists we find the steps and armour below dwindling down to mere ornamental appendages, and the horses above showing action of a kind suggesting rather the freedom of a painter's brush, we have good grounds for supposing that the scheme on our present " medallion," in which the plastic character of the chariot group and the graduated base below mutually explain one another, is the earlier design. The fuller and more realistic presentation of the armour, as well as the prominence of the inscription that indicates its destination as the prize of victory, taken by them- selves supply some grounds for seeing in this part of the design as it appears in the New " Medallion " the original of the exergual arrangement that was adopted in a modified and more decorative form by Kimon, and after him by Evaenetos, upon their dekadrachm dies. The technical peculiarities of the present piece which mark it off, not less distinctly than its originality of style and design, from all other coins of this class, point on the whole to the same conclusion. The relief, both on the obverse and reverse, is somewhat lower than that on Evainetos' " medallions," and shows a nearer approach to that of Kimon's earlier work. Its quadriga especially reveals a more shallow intaglio of the die, recalling the finest Fifth -Century style of gem-engraving. The mechanical skill with which this coin has been struck is truly remarkable. A slight reduplication of lines may indeed be detected round the outermost rim of the ob- verse, but I know of no dekadrachm that can compare with this, either in the roundness of the circumference, or in the DEKADRACHM BY NEW ARTIST. 45 precision with which the impression of the die on either side has been centred on the metal, so that not only is the whole design, both on the obverse and reverse, contained within the field, but in neither case is there a lopsided margin. The module of the coin is abnormally large, being 1'51 inch (3'84 mill.) or "06 inch broader than the largest " medallion " of Evsenetos in the British Museum. In its exceptional module the present coin unquestionably ranges better with the dekadrachms from the hand of Kim on, amongst which the average expanse is decidedly greater than on those by Evsenetos. Amongst the specimens in the British Museum, there are two of Kimon's work, the 1 modules of which reach respectively 1'55 and 1*6 inch, and a third "medallion" of the same artist (with the lower relief) in the collection of the University of Aberdeen measures 1'55. And inasmuch as Kimon's first dekadrachm issues belong to a slightly earlier date than those of Evsenetos, 15 the abnormally large module of the piece by the New Artist must also tell in favour of its comparatively early date. The Akragantine dekadrachms, which are also relatively early, range between 1'46 inch (3*7 mill.) and 1*62 inch (4*1 mill.). 16 Were there any trace of a progressive diminution in the weight of Syracusan silver money during this period, the decidedly light weight of this exceptional dekadrachm which weighs 645^ grains, as against an average of over 665 grains, might be taken as distinct evidence of posteri- ority of issue. But there is no trace of such a progressive diminution, and on the other hand a considerable varia- 15 See Parts IV. and V. 16 Salinas, Le Monete delle antiche Citta di Sicilia, p. 21. 46 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. tion in weight is perceptible in known examples of Evaenetos' dekadrachms, one in the British Museum descending as low in the scale as 650 grains. Un- doubtedly for a coin which, with the exception of the loss of a few small flakes of silver in the upper field of the reverse, is brilliantly preserved, and of extraordinary large module, a discrepancy of some 20 grains is a note- worthy phenomenon. In the case, however, of a deka- drachm by Kimon in the British Museum, the authenticity of which there seems no good reason for doubting, and which is by no means in bad condition, the weight falls as low as 625*3 grains. 17 The general conclusion, then, to which these various lines of induction seem to point is that the newly dis- covered "medallion" is slightly earlier in date than any known dekadrachm from the hand of Eveenetos. In that case the unknown artist with whom we have to deal was in all probability the original creator of the beautiful type of the young Goddess crowned with the green barley-wreath of Spring, which, in a slightly modified form, was reproduced and popularized on the prolific issues of Evaenetos. It is possible, indeed and this perhaps is the prefer- able view that the reverse type as seen on the new " medallion," which seems to betray a less developed style than the obverse head, was originally coupled with a still earlier version of the head of Kore than that with which it is actually associated. The fact that the present coin is altogether unique, and the possibility, therefore, that it was struck for some special purpose connected with the 17 B. M. Cat., Syracuse, No. 203. It has the same flaw in the die as another piece of full weight. DEKADRACHM BY NEW ARTIST. 47 prize of an agonistic contest, make it reasonable to sup- pose that a still earlier, but hitherto undiscovered, version of the obverse type may yet lie behind it. In this case, the head of Persephone that it exhibits would represent a parallel development of an original model, used also by Evaenetos, rather than the original model itself. The perspective rendering of the spiral curls on the new " medallion " is seen on Kimon's early dies in a more incipient stage, and is conspicuous by its absence on his facing head of Arethusa. On the " medallions " of Evaenetos, on the other hand, this artistic feature is seen in much the same stage of development, though the curls of his Kore are still more closely coiled ; and this fact may be taken to supply an argument for bringing down the execution of the obverse design of the New Artist approximately to the same date as the early " medallions " of Evaenetos. In any case, however, the early character- istics observable both on the obverse and reverse of our coin make it difficult to suppose that it is merely a later copy based on Evaenetos' design. The discovery of the present " medallion " is in other respects of high interest in the history of the glyptic art as affording us a new stand-point of comparison for the well-known masterpiece from the hand of Evaenetos. The relation in which the coin before us stands to it has already been generally indicated. In many respects the contrast only serves to bring into clearer relief the peculiar charms of each. The New Engraver excels in minute elaboration of details, but his presentment of the Maiden Goddess, though richer in accessories, is severer in profile and nobler in expression. The portrait by Evaenetos, on the other hand, is a work of greater artistic concentration. The details are better subordinated to 48 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. the general effect. Quite secondary attention is here paid to the background. The cutting-off of the super- fluous tresses brings out the fine outline of the head itself and throws the whole into greater relief, while the slighter rendering of the surrounding dolphins also serves to give greater prominence to the central design. Their curves are balanced against the outlines of the face and neck with calculated skill, the bowed outline of the lowermost dolphin, for example, no longer following, and almost repeating the line of the neck-section immediately above, but standing here in accentuated contrast to its more gentle sweep, while the flowing inner bend formed by the upper of the two fish in front of Kore's face intensifies, by the law of opposition, the soft incurving of the line that unites her nose and forehead, and which breaks the classical severity of profile. The eye in Evasnetos' portrait is, as we have seen, in better perspective. The modelling of the ear and cheek is executed with greater ease and truth to nature, and about the corners of the lips there lurks a very human dimple. It is a girlish face, rather Greuze-like in its expression, and of surpassing loveliness, that we have before us from Evaenetos' dies, but something of the diviner element that permeates the earlier impersonation seems here to have faded from our view. If we turn to the reverse of the newly discovered deka- drachm, while we admire the simplicity and grandeur of the quadriga group, with its rhythmic and harmonious movement, we cannot fail to notice, at the same time, a certain naiveness and uniformity in the arrangement. In spite of the admirable modulation of movement the drawing is somewhat too regular. The goad and outstretched arm, the reins, the axle-tree, and steps below, all form a series DEKADRACHM BY NEW ARTIST. 49 of parallel lines, and the horses all equally controlled and equidistant in the bearing of their heads and necks and the arrangement of their legs, repeat the same action. The quadriga types of Evametos, on the other hand, especially as seen in the maturity of their development on such a piece as that represented on Plate V., Fig. 12, betray throughout a hand that has spent a long appren- ticeship in the art of design. The composition itself, which suggests, without actually showing, the moment of rounding the goal, is of unrivalled ingenuity. The action of the horses is higher and incomparably more varied. The raised goad, the more radiating reins and their adroitly devised arrangement, the rearing horses, the dis- posal of the legs into two distinct groups, are all so many evidences of freehanded striving after a magnificent and elaborately calculated artistic effect. If the other design runs on monumental lines, that of Eveenetos might translate itself into a painter's masterpiece. It is only when we analyse the scheme more carefully that we see that the arrangement, striking and effective as it seems, has yet its defects ; that the two hind-legs of the second horse placed on the ground imply a body dispropor- tionately long, that the hind-legs of the foremost horse would make (as in the other instance) a body dispropor- tionately short, and that the complex crossing of the legs themselves, that adds variety and sensation to the design, is fatal to the harmony and dignity that shine in the older composition. The arrangement of the panoply and inscription below on Evaenetos' coin certainly lacks nothing in regard to symmetry, and the transference of the inscription A0AA in minute letters to the lowest exergual space is, from this point of view, a neat device. But this nicely balanced H 50 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. grouping of the arms with their triple ascending scale is, after all, a paltry set-off against the massive simplicity of the older design. How poor are the shield and helmet, the greaves and cuirass, by comparison ! How shrunken from their heroic mould ! The perfect equipoise achieved, itself contributes to reduce them almost to an ornamental appendage of the quadriga above, and like the legend that describes them, their meaning as the prize of a great agonistic contest stands out no longer bold and clear as on the earlier piece. As a matter of fact on over ninety per cent, of these later " medallions " as actually struck, the A0AA below is entirely lost. In examining the handiwork of Evaenetos we cannot fail to recognise at every turn the characteristics of a more advanced art, and yet with all the trained artistic skill and brilliant power of composition displayed by this engraver, with all the beauty of his portraiture, it must still be acknowledged that in delicacy of touch and majesty of design he stands behind the earlier Master whose splendid work has been now revealed to us. The coin itself, with its infinite refinement of execution, with its alternating moods of picturesque luxuriance and sculpturesque majesty, is a tour de force which may, perhaps, be compared with some of the medallic master- pieces of the Italian Renascence executed by artists whose main lines ran along the higher paths of painting, sculpture, and architecture. PART IV. THE DEKADRACHMS OF KIMON, AND HIS PLACE ON THE SYRACUSAN DIES. REASONS have been given in the preceding section for regarding the newly-discovered "medallion" from the Santa Maria hoard as of somewhat earlier fabric than any- known dekadrachm of Evaenetos. The severe and simple style of the reverse has even inclined us to go a step farther, and to regard its most characteristic feature, the prize arms ranged on the steps below the chariot, as repre- senting the original type from which both Kimon and Evsenetos drew for their less striking and more conven- tionalized representation of the same subject. The fact that the coin of the New Artist exhibits the reverse design in this naive and independent form at least tends to show that the die was engraved, broadly speak- ing, in the earliest period of the revived pentekontalitra and before the otherwise universal arrangement of the exergual arms had, as it were, become stereotyped. Judging, however, by its obverse side, which apparently represents a later element on the new coin, a certain priority must be accorded to Kimon's earlier Syracusan work, described above as Types I. and II. The epigraphy on the new " Medallion " no longer shows the transitional N 52 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. that characterizes Kimon's two earlier types, and on the other hand the formation of the eye, the arrangement of the lowermost dolphin and the style of relief show a greater sympathy with Kimon's Third Type. On the whole then we may regard the head of Kore by the New Artist as contemporary with this. It must at the same time be observed that there are certain features in the design of the unique piece from the Santa Maria hoard, which throw a new light on this remarkable class of coins, and bring us a step nearer to determining their original meaning and occasion. It will be well, however, before entering on the more historic part of our inquiry to consider the materials for the chronology of the early dekadrachm issues of Syracuse supplied by the dies of the other artists. The materials for this study are to be found both in the contents of some recent Sicilian finds, and in a compara- tive examination of certain kindred types, both of Syracuse itself and of other cities, the importance of which in this connexion seems hitherto to have escaped notice, but which hold out a welcome clue to the date of these "medallions." And the inquiry thus embarked on may lead us, so far as Kimon is concerned, to some new conclusions as to the position occupied by this artist among Sicilian engravers. I am well aware that in ascribing a certain anteriority to Kimon's dekadrachms as compared with those of Evajnetos, I am advancing a proposition directly at variance with the opinion of one of the most careful and competent critics who have treated of the subject. Dr. Weil in his work on the artists' signatures on Sicilian coins, after dividing the dekadrachms with the head of Kore into an earlier class signed EYAINE, and a later unsigned, continues, " The third, and obviously the latest, KIMON AND HIS WORKS. 53 class is that proceeding from Kimon and exhibiting the female head with the hair-net." 1 But Dr. Weil does not seem to have realised the existence of Kimon's earlier and rarer type, a phototype of which is given on Plate I., fig. 5, 2 and enlarged 2 diams. on PI. VIII. The lower relief of the head of Arethusa on this coin, the incompar- ably finer engraving, and the truly exquisite elaboration of detail, stamp this at once as distinctly the earliest of Kimon's dekadrachms. It is evident, indeed, that some few years must have elapsed between this and his latest issue with the head of the same Nymph in bold relief the proudest, and so far as its expression goes, the "modernest" of all Greek coin-types. Nor will any one with the earlier type in view seriously contest Kimon's claim to priority over his rival Evsenetos in the engraving of dekadrachm dies. These earliest " medallions " with Kimon's signature are of considerable rarity, though the Santa Maria hoard has 1 Dr. Weil expresses himself (Die Kumtlerinschriften, &c., p. 27) as follows: "Die Dekadrachmen scheiden sich in drei Gruppen, welche, soweit ich beobachten konnte, durch keinerlei Stempelvertauschungen unter einander in Beziehung stehen : die alteste ist die des Euainetos mit dem EYAINE unter dern Kopf des Kora ; ihr in der Technik vollig entspre- chend ist die statt des Kiinstlernamens mit wechselnden Bei- zeichen ausgestattete ; die dritte und ofFenbar jiingste ist die von Kimon herriihrende, der Frauenkopf mit dem Haarnetz." To these may now be added, besides the other and far rarer type of Arethusa by Kimon, the Kore head, by the New Artist, revealed to us by the Santa Maria hoard. Von Sallet, I>ie Kunstlerinschriften an/ yriechischen Miinzen, p. 29, is more cau- tious in expressing bis opinion as to a possible difference in date between the two artists. He observes: " Ueber einen etwaigen, jedenfalls sebr geringen Zeitunterschied zwischen Kimon und Euanetos lasst sicb nichts bestimmtes sagen." 2 Cf. Castelli, Sic. Vet. Num., Tav. Ixxii. 2 ; Due de Luynes, Monumenti Inediti (1830), PI. XIX. 3, and Annali dell' Inst., &c. (1830), pp. 77, 78; B. V. Head, Coins of Syracuse, PI. IV. 6 ; B. M. Cat., Sicily, No. 200. 54 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. added two to our store of known specimens. The reverse, which is from the same die as that used in some of the later issues, shows the signature KIMflN on the exergual line, but whereas on the obverse of the later types the full inscription of the name is repeated on the lowermost Kl dolphin, it is here confined to the three letters v; inscribed on the ampyx of the sphendone. The earlier N appears in the civic inscription. If we examine the beautiful head of Arethusa on this coin, it becomes evident that it is itself a luxuriant and more elaborate adaptation of the head of the same Nymph as she appears on an early tetradrachm of Evaenetos (PI. I. fig. 3), while the quadriga type with which it is accom- panied will also be found to stand in a very intimate rela- tion to the reverse of the same piece by the rival master. The tetradrachm in question is that finely executed coin 3 on which the first four letters of Evsenetos' name appear on the belly of the dolphin that swims in front of the Nymph's mouth, while on the reverse the full signature is repeated in the earlier genitival form EYAINETO for EYAINETOY on a small tablet held aloft by Victory. Extraordinary as is this coin, regarded as an independent work of art, it is yet in many of its essential features itself simply an adaptation by the more skilful hand of the pupil from an existing model by the older master, Eumenes (PL I. fig. 1). At times, indeed, this older version of the head of Arethusa if Arethusa it be with the same star- spangled sphendone knotted at top in a similar manner, and the same arrangement of locks flowing back from the temple, appears with Eumenes' name below in actual association with the reverse of Evaenetos (exhibiting his ! B. M. Cat. Sicily, p. 172, No. 188, v. infra, p. 85 teqq. KIMON AND HIS WORKS. 55 signature on the suspended tablet), which otherwise accompanies the younger engraver's more refined render- ing of the obverse type. This overlapping of Evaenetos' fine design with the more archaic work of Eumenes is itself a clear indication of the early date of the tetradrachm in question. Nor is this by any means the only reason for assigning to this highly elaborate composition a very early place among the signed coins of Syracuse. Of the chronological im- portance of this coin in its bearings on the development of Syracusan art I have, indeed, already said something in connexion with a newly-discovered signature of an artist on one of the latest coins of Himera, the reverse of which was unquestionably copied from the tetradrachm of Evaenetos. 4 In the paper in question I showed that not only was this late Himersean type derived from Evaenetos' model, but that from the more advanced character of the design we were justified in inferring that the prototype had been struck some years, at least, before 409 B.C., the latest assignable date for the tetradrachm of Himera. This conclusion receives a striking corroboration from, a beautiful tetradrachm of Segesta (PI. I. fig. 4), present- ing a head of the eponymous Nymph of that city unques- tionably based on the Arethusa of the same early master- piece of Evaenetos. In this case, the head of Segesta can hardly be otherwise described than as an enlarged copy, in a more advanced style, of the Syracusan model. To this beautiful coin I shall have occasion to return when discussing the works of Evasnetos. 5 Here it may be sufficient to say that there are good historical and numis- matic grounds for referring its approximate date to the 1 Num Chron., 1890, p. 291 seqq. 5 See p. 89 seqq. 56 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. years 416 413 B.C. The result, as will be seen, throws back the prototype by Evaenetos some years before this date. Nor, allowing for the visible development in style in the case of the Segestan coin, will it be safe to place the date of issue of Evsenetos' early tetradrachm many years later than 425 B.C. On the other hand, the great approximation in style between the head of Segesta on the piece referred to, and the Arethusa of Kimon's early dekadrachm, affords in this case, too, a valuable indication of date. Both coins stand in much the same artistic relation to the same prototype. In some respects, indeed, Kimon in his head of Arethusa shows a greater independence of his model. The chin is fuller and rounder, and the nose and forehead form more of a Grecian line ; in the character of the eye and the general arrangement of the hair and sphen- done we find the same agreement, though on the larger coin the curls are more developed, and here, in place of the star- spangled bag, the back tresses, as on an earlier Syracusan type (PI. I., fig. 2), are confined in a beaded net which supplies a greater richness and variety to the design. In both cases the band that passes round the upper part of the head is fastened by a small knot of the same form, the loose ends of which curve above the head, Kimon in his arrangement of these streamers following rather the prototype of Eumenes than Evaenetos' adaptation of it. On the whole, however, he has unquestionably developed the model as refined by the latter artist, and in the elaboration of detail and the almost microscopic minute- ness of execution that Kimon here displays there is much in harmony with Evsenetos' early manner as exhibited in his head of Arethusa. One point, which is not without its chronological importance, remains to be noticed. On KIMON AND HIS WORKS. 57 Kimon's early medallion, as on the Segestan tetradrachra, there is substituted, in place of the coiled earrings that at Syracuse mark Transitional fashion, a new and more taste- ful floral drop. As an additional token of contemporaneity and kinship this ornamental feature has a distinct value, inasmuch as amongst all the coins of the Sicilian cities this floral type of earring appears alone on these two pieces. If we turn to the reverse of Kimon's dekadrachm, there will also be observed a certain correspondence with that of Evaenetos' early tetradrachm in the distribution of the foreparts of the horses. Here, as there, the three nearest horses are placed more or less abreast, while the further steed plunges forward. It is true, however, that in deference, as has been suggested, to a severer model the more sensational element of the design as represented by the broken rein and entangled fore-leg has been elimi- nated in Kimon's scheme. On the other hand, the signa- ture presents another point of contact between the two engravers. The practice adopted here by Kimon of in- scribing his name on the exergual line of the reverse is, in fact, adopted from another early tetradrachm reverse of Evsenetos with an almost identical scheme of horses, in which his name, once more in the genitival form EYAINETO, is stowed away in the same manner. This reverse of Evsenetos accompanies a head by his fellow- engraver Eukleidas which represents a copy contemporary with his own of the original portrait of Arethusa by their common master Eumenes. Two Syracusan tetradrachms (figs. 6 and 7 of PL I.) may be referred to as illustrating much the same stage of artistic evolution as Kimon's early dekadrachm. The first of these, with the head of the bearded Satyr beneath the Nymph's neck, shows the same indebtedness to i 58 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. Evaenetos' early model, the exceptional form of her ear- ring, on the other hand, being equally characteristic of the varied fashions in this matter displayed in Kimon's day. The other coin, with the signature PAPME, while it also, in some respects, shows traces of the same proto- type, bears in a higher degree the impress of Kimon's first " medallion " type, and has one motive directly borrowed from it, namely, the dolphin that seems to issue from Are- thusa's neck. Both these tetradrachms show a somewhat early chariot-scheme, in which the archaic dualism is well marked, and though somewhat later in style, neither can be many years later in date than Kimon's first "medallion" type. His gold hundred-litra pieces (PI. II., 3, 4, 9), with a head of Arethusa in the starry sphendone, belong to the same group ; and the facial type presented by the earliest of these (PL II, figs. 3, 4) so strongly recalls the features of Kimon's second " medallion " issue (Type II.) that it must unquestionably be referred to the same date. 6 From what has been already said, it will be seen that the earliest of Kimon's " medallion " types fits on to the fine tetradrachm of Evaenetos' " first manner," the head of which had already, between the approximate dates of 416 and 413 B.C., served as the model for the beautiful por- trait of Segesta on the rare tetradrachms of that city, while the tablet-holding Nike of the reverse had already, by 409 B.C., been associated on a Himeraean coin with a quadriga scheme of a distinctly more advanced character. And the parallelism in which Kimon's work stands to the Segestan coin referred to, is of such a kind as to warrant us in supposing that this early " medallion " dates from the same period as the other coin, and must be referred to the years immediately succeeding 415 B.C. 6 See p. 98. KIMON AND HIS WORKS. 59 This conclusion, which carries back the prototype by Evaenetos, and the contemporary types by Eukleidas and Eumeues, with which it stands in such close association, to a period which may be roughly stated as 425 415, has some important bearings on the chronology of Syracusan letter forms. On these early tetradrachms of Evaenetos, the fl appears already in the civic name, and the same is the case with the obverse types of the older engraver, Eumenes, which not infrequently accompany Evsenetos' reverses. Nor need this conclusion, which throws back the first introduction of the H on the coin types of Syracuse to a considerably earlier date than has been generally supposed, in any way surprise us. There is no reason why Syracuse should have been behind any Italian city in such matters, and we know that at Thurii the 1 already appears on the earliest tetradrachms struck, in all proba- bility, about 440 B.C. The fl is in fact already used in his signatures by the Syracusan engraver Sosion, on coins which go back approximately to the same date. There is then no a priori reason for supposing that the presence of the fl on the group of coins with which we are immediately concerned, argues a later date than that to which their issue has been referred on other grounds. The earlier usage still lingered, indeed, at Syracuse itself, and some engravers lagged behind others in the introduction of the new letters. At times, too, they made use of them with an opposite force to that finally received. Eumenes him- self, whose signature on his latest pieces EYMENOY shows the true form of his name, on slightly earlier coins, signs EYMHNOY using H for E. 7 Phrygillos in the 7 On his more archaic coinR with the civic inscription 3 YPAKO 3 ION, this artist invariably signs EYMHNOY, 60 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. like fashion on' one occasion writes the civic name 3YPAKH3 ION using fl for O and vice versa. So, too, on a red-figured vase we find H PM E[ $ ] for E PM H ^ and AlHNVSnS for AIONYSO*. 8 Eukleidas is more cautious about the new usage, and resorts to the adjectival form ^YPAKO^IO^. It seems to me that this latter usage, which becomes so general just at this period of epigraphic transition, was really a device for avoiding any decision as to the force of the new letter- forms. One of the most valuable standpoints for fixing the date of the Syracusan coin-types of this period is supplied by the reverse design signed EY0 (PL I. fig. 1), representing a quadriga with horses in free but very even action, with their fore-parts more turned towards the spectator than is usual on this series, and driven by a winged youth. The exergual device, a figure of Skylla chasing a small fish with outstretched hand, is singularly sportive and graceful, but the early date of the type seems to be established by its exclusive association with the somewhat rude heads of Kore and Arethusa, by Eumenes, and with a head of the Maiden Goddess, b^- Phrygillos, after Eumenes' prototype, which must certainly be regarded as the earliest work of that engraver. It will be further observed that this design presents an extraordinary parallelism with a similar quadriga, also driven by a winged figure in this case of Nike that accompanies one of the latest tetradrachm or YON ' ^ n *" s ^ a * er tyP es assoc i a t e d with reverses by Evaenetos or Euth . . ., and with the inscription ^ YPAKO ^ - IflN, the signature is always EYME[N]OY. This shows that the true form of the name was Eumenes (Ev/u.eVi;s), and not Eumenos (EV/AT/VOS). 8 Panofka, Antiques du Musee Pourtalh-Gonjier, PI. XXVII. K1MON AND HIS WORKS. 61 types of Selinus. It is at once obvious that both the Syra- cusan and Selinuntine types in question, must be referred approximately to the same date. But Selinus, as we know, was destroyed in 409 B.C., and although this quad- riga is the most advanced type found on the tetradrachms of that city, there exist certain Selinuntine hemidrachins, on which the horses are seen in still higher action, and in one case at least, the epigraphy assumes a slightly later form. It is, therefore, probable, that the dies of the tetradrachms referred to, though the latest of Selinus, were engraved some few years, at least, before 409 B.C. On the other hand, from the early associations, in which their Syracusan counterparts signed EY0. . . are found, it is difficult to bring down the first issue of these latter later than about 420 B.C. Whether Syracuse or Selinus can lay a prior claim to the introduction of this scheme is another ques- tion. To myself the Syracusan version seems distinctly earlier. Dr. Weil, indeed, from the isolated character of this design on the Syracusan coinage, was inclined to regard it as due to the presence at Syracuse of some Selinuntine or Akragantine 9 engraver, who had escaped from the destruc- tion of his native city in 409 or 406 B.C. But the evidence that this design is earlier than 409 B.C. must be taken to diminish the plausibility of this suggestion. As a matter of fact, the scheme is as isolated at Selinus as it is at Syracuse. And on the other hand, some newly- discovered Siculo-Punic types, to which attention will be presently 9 Dr. Weil, loc. cit. p. 9, sees Akragantine features in the Skylla, which also occurs on a tetradrachm of that city (B. M. Cat. p. 12, No, 61 ; Salinas, Le Monete, &c., Tav. 8, f. 3, 4) and the fish, which is similar to one seen with the crab on other Akragantine tetradrachms (B. M. Cat. No. 59 ; Salinas, Tav. 8, f. 2) ; and further, in the arrangement of the chariot. 62 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. called, show that the Punic cities of Western Sicily copied the Syracusan and not the Selinuntine version of this reverse. That the design deviates from the usual Sicilian tradition is obvious. But it seems to me that another and more satisfactory explanation of its origin may be found. It stands, in fact, in a very close relation to a well-marked group of quadriga types that appear on some contem- porary coins of Kyrene. The even arrangement of the horses, the facing tendency of both horses and chariot, and the winged charioteers 10 the three most charac- teristic points, both on the Syracusan and Selinuntine pieces are all found on a fine series of Kyrensean gold staters which, from the early character of their style and epigraphy, must have been struck about the same period as our Sicilian pieces, and which in fact mark the flourish- ing epoch of the civic history that ensued on the fall of the Battiadae and the establishment of a Republican form of government at Kyrene" in 431 B.C. 11 But, whereas on the Sicilian dies the recurrence of such schemes is alto- gether isolated, in Kyrene they are obviously at home, and we may even trace the genesis of one of the most im- portant features of the design, the wings', namely, of the charioteer, which seem to have been suggested by the somewhat awkwardly flowing mantle of the driver on a slightly earlier stater. It is possible that during the years that immediately preceded the Athenian siege, some Kyrenasan engraver was attracted by the opulence of Syracuse to settle in that 10 The winged charioteer also appears on the coins of Akragas (where the same Kyreuaean influence may also be detected), and of Gela. 11 Head, Hist. Num., p. 729. KIMON AND HIS WORKS. 63 city ; but on the whole it seems more probable that the introduction of these types, both at Syracuse and Selinus, was due to an active commercial intercourse between Fig. 3. Quadriga-Types on Kyrenaean Gold Staters. Kjrene and the ports of Southern Sicily and to the direct influence of the brilliant gold coinage lately intro- duced in the great Doric plantation of the Libyan coast. 12 The appearance of the two parallel designs about the same time at Syracuse and Selinus may in this case simply indicate that engravers of both cities borrowed indepen- dently from a common source. These Syracusan tetradrachms signed EY0, presenting this Kyrenaean scheme of the quadriga, seem to have been 12 The reciprocal influence of the Sicilian currency on that of Kyrene may, perhaps, be traced in the appearance at this time of Kyrenaean gold pieces of 13 grains (cf. Head, Hist. Num. p. 729), answering to the weight of the silver litra. Gold litrae of the same weight were issued at Gela one in my possession weighing 13^ grains (see p. 99) and the corresponding gold dili- tron of the same city, weighing c. 27 grains, are better known. Taking the proportional value of gold and silver as 15 to 1, these coins must have severally represented three and six drachms JR. They thus range with the small Sicilian gold pieces of 9 and 18 grains (cf. Head, Coins of Syracuse, p. 17), which represent gold obols and diobols, and are the equivalent in silver of didrachms and tetradrachms respectively ; so that, by a combination of the litra and obol systems, we have a series of small gold pieces, the silver value of which is two, three, four, and six drachms. 64 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. specially selected for imitation by the Siculo-Punic die- sinkers during the period of preparation which immediately preceded the great Carthaginian invasion of 409 B.C. That invasion, as was to be expected, left a deep impress on the coinage of the Phoenician cities of Sicily, which is traceable in several ways. During the late Transitional Period of numismatic art, the continuous process of Hellenization that was at work in the Phoenician and Elymian communi- ties of the Western part of the Island, had left its mark on the epigraphy of their coinage, insomuch that it is not only at Segesta and Eryx that we find Greek inscriptions, but at Panormos and even at Motya. But the great reinforcement of Carthaginian authority in this Sicilian region which followed on the invasion of 409, though it did not interfere with the Hellenic taste of the inhabitants so far as the artistic character of the coin-types was con- cerned, seems to have put an end for ever to the adoption of Hellenic legends. The brilliant series of coins struck shortly afterwards in the island by Carthage in her own name for the use of her mercenaries did not by any means extinguish the autonomous issues of the old Phoenician cities of Sicily, but they were a speaking witness to the new political situation. At Motya itself the coins now are either wholly uninscribed or present the Semitic form of the town name. The coins of the Panormitis are inscribed with the still mysterious inscription " Ziz." But at the same time the vast treasure taken from the plundered Greek cities seems to have supplied fresh models to the Siculo-Punic mints, and, it may be, even fresh engravers from among the captive Greeks. Some valuable and hitherto unattainable data for distin- guishing these early Siculo-Punic types have been supplied by the discovery of a recent hoard of silver coins KIM^N AND HIS WORKS. 65 in Western Sicily, the bulk of which are now in the Museum at Palermo. 13 This find is of special import- ance to our present inquiry as containing a series of Siculo-Punic coins with heads copied from Kimon's "medallions" (Types I. and II.), associated in several instances with quadriga types based on the Syracusan design by the engraver Euth . . . whose signature is here replaced in the same position in the exergue by the Phoenician inscription ^^^ (Ziz), while the Skylla beside it is transformed into a sea-horse. It is probable from the occurrence of the legend Ziz that these early silver types must be referred to the Panormitan mint. 14 Their attribution to this Phoenician city receives, moreover, an interesting corroboration from the fact that a copy of the same sea-horse on a smaller scale, and in an inferior style, was introduced into the exergue of the latest tetradrachms of the neighbouring Greek city of Himera by the engraver Mae . . . , 15 We thus obtain a valuable clue to the date of the earliest Siculo-Punic 13 The coins have been described and illustrated by phototype plates, by Professor Salinas, in the Notizie def/li Scavi, for 1888. (Ripostif/lio Siciliano di monete antiche di aryento.) In Ap- pendix A. I have given some reasons for differing from Professor Salinas's chronological conclusions regarding this find. 14 For the special connexion of the legend Ziz with Panormos, see De Saulcy, Mem. de VAcad. des Inscr. et B.L. xv. 2, p. 46 seqq., and Rev. Num., 1844, p. 44-46. Imhoof Blumer, Monnaies Grecques, p. 26, inclines to the same view: " Si elle n'a pas une signification plus generale, qui n'aurait pas meme besoin d'etre geographique, elle doit etre le nom Phenicien de Panormos, comme De Saulcy 1'a vu le premier." In the B. M. Cut. they are placed under Panormos. Any identification of t v/ *iv with the 1 1 B on coins of Segesta and Eryx has pro- bably been set at rest for ever by Dr. Kinch's study on the latter epigraphic form. Die Sprache der sicilischcn Khjmer (Zeitschr. f. Num. xvi. (1888), p. 187 seqq.) 15 See p. 180 seqq. and PI. X. 2. K 66 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. coins of this group, which must, in this case, have been in existence by 409 B.C. when Himera was utterly destroyed. The official coins struck in Sicily in the name of Carthage, with which these autonomous Siculo-Punic pieces were associated in the find, are slightly later in style and, in all probability, date from the time of the second Carthaginian expedition of 406 405 B.C. 16 It is probable that the presumably Panormitic pieces signed " Ziz" were struck from about 410 B.C. with a view to providing the expected Carthaginian ally with specie wherewith to pay his Campanian and other mer- cenaries. They thus supply a terminus a quo for the chronology of the obverse types which occur on them. These are of three kinds, all of which were represented in the West Sicilian find. 1. A female head, copied from an early head of Persephone, byEumene's. (B. M. Cat., Sicily, p. 247, Nos. 8, 9; Salinas, Ripostiglio Siciliano, &c., Tav, xviii. 86, 37.) 2. A head copied from that of Arethusa in the net on Kimon's earliest "medallion" (Type I.). (Salinas, Hipos- tiylio, &c., Tav. xviii. 34.) Cf. Plate I., Figs. 8, 9. 8. A head copied from that of Arethusa in the net on Kimon's later "medallion" in high relief (Type II. A). (Salinas, Ripostif/lio, Tav. xviii. 35.) Plate II., Fig. 7. The importance of this conclusion in its bearing on the date of Kimon's dekadrachms can hardly be overrated. From the identity of the reverse with which these various heads are coupled, and the similarity of their technique, it is obvious that all three of these Siculo-Punic types were struck within a few years of one another. Yet some of them had already, by 409 B.C., influenced the 16 See p. 97. KIMON AND HIS WORKS. 67 character of the latest Himeraean coinage. It follows that by that approximate date not only Kimon's earliest " medallions," with the low relief, had been already in circulation, but his later and more advanced work, repre- senting his earliest issue in high relief (Type II.), which is copied by No. 3. And it follows as a corollary to this that Kimon's first dekadrachm issue, which is in a dis- tinctly less advanced style than those in high relief, must have been struck some years at least before the issue of these Siculo-Punic types which belong to what may be called the great Carthaginian re-coinage of 410 and the immediately ensuing years. The fact, moreover, that in two cases we find the imitation of Kimon's work associated with copies of the reverse type by Euth . . . must in itself be considered a strong indication that Kimon's early "medallions" go back, at least, to the borders of the period when Euth . . . engraved his dies. But the Kyrenaean de- sign of this latter artist belongs, as already shown, to the period immediately preceding the Athenian siege, and we are thus induced by more than one line of reasoning to throw back Kimon's first dekadrachm issue to a date somewhat nearer 415 than 410 B.C. The West Sicilian hoard to which reference has already been made, and which, from the place where it was dis- covered, it may be convenient to give the name of the " Contessa Find," has supplied in addition to the above- mentioned Panormitic types one or two examples of Motyan tetradrachms also copied on their obverse sides from Kimon's " medallion " types and struck no doubt on the same occasion as the coins signed Ziz. These are : 1. Obv. Female head to r., with hair in net, and with ear- ring of a single drop, in high relief and fine style, 68 SYRACUSAN " MEDALLIONS "' AND THEIR ENGRAVERS. copied from the head of Arethusa in the net on Kimon's later dekadrachms (Type II.). Insc. (Motua) *\UH\. Rev. Crab. (Salinas, Eipostiglio, &c., Tav. xviii. 17. One example found.) [PI. IE. fig. 5.J 2. Obv. Female head to 1., with hair in net and earring with bar and three pendants, copied from Kimon's later dekadrachm, but in an inferior and obviously later style. (Salinas, Ripostiglio, &c., Tav. xviii. 18. Three examples found.) [PI. II. fig. 6.] The evidence brought to light by this find of the influence exercised by Kimon's works on the Motyan engravers fits on to the witness already supplied by some smaller silver and bronze pieces of this Pho3nician city. A didrachm of Motya of which examples from two dies exist (PL III. figs. 11, 12), 17 presents the facing head of a Nymph surrounded by dolphins, obviously copied from the facing head of Arethusa, with Kimon's signature, on the well-known Syracusan tetradrachm, and this didrachm in its turn was reproduced on a series of silver obols 18 (PI. III. fig. 10) and small bronze pieces 19 (PL III., fig. 8) 17 For PI. III., fig. 12, see B. M. Cat., Sicily, p. 244, No. 8 ; Weil, KunstUrinschriften, &c., p. 29. PI. III., fig. 11, is from the Paris Cabinet. 6 B. M. Cat.. Sicily, p. 244, No. 9. 19 In the B. M. Cat. (p. 245) these small bronze pieces appear as " Motya ? " I have, however, myself obtained several on the actual site of Motya, the small island of St. Pantaleo, between Trapani and Marsala ; and as these small coins were for local circulation only, this evidence may be regarded as conclusive. On one of these small bronze coins the face and head of the Nymph seems to be coupled on the other side, not as usual with a youthful male head, but with a small copy of the profile head of Arethusa in the net (B. M. Cat., Motya, 20, described as a " young male head "). This head, in very high relief, is probably taken from one of the gold hundred-litra pieces engraved by Kimon or Evzenetos, the young male head which accompanies KIMON AND HIS WORKS. 69 issued by the Motyan mint during the last period of the civic existence. The existence of a whole series of Motyan coins copied from prototypes by Kimon in his more advanced style is itself a valuable chronological landmark, since Motya itself was utterly overthrown by Dionysios in 397 B.C. The discovery in the Contessa Hoard of two varieties of Motyan coins imitated from Kimon's dekadrachm of high relief (Type II.), one of which is distinctly posterior in style to the other, further enables us to throw back the latest possible date of the first issue of Kimon's later "medallions" some years, at least, before 400 B.C., beyond which year, as I have endeavoured to show in Appendix A, it is impossible to bring down the deposit of this West Sicilian find. In this find, besides the Panormitic and Motyan imitations, there was one somewhat used original example of Kimon's later " medallion " (Type II.). 20 A still more remarkable contribution to the chronology of Kimon's medallions is supplied by his beautiful tetra- drachm type representing the three-quarters facing Arethusa (PI. III. figs. 4, 5), which amongst all the dies executed by this artist, must ever be regarded as his masterpiece. But the face represented so closely corre- sponds with the profile portrait on Kimon's later deka- drachm with the high relief (Type III.), that it is impos- sible to suppose that more than a few years could have intervened between the engraving of their respective dies. And in the case of Kimon's facing head of Arethusa other Motyan bronze types being in the same way derived from the head of the River God on the contemporary gold fifty-litra pieces of Syracuse. It thus appears that both these classes of Syracusan gold coins were current several years before the fall of Motya. 20 Salinas, RipostigUo, &c., Tav. xvii. 21. 70 SYRACTJSAN "MEDALLIONS" AND THEIR ENGRAVERS. we have more than one trustworthy guide to the date of its first issue. The imitation of this noble type on a series of Motyan coins, is itself an indication that it had been in existence several years at least before 397 B.C., the date of the des- truction of that Phoenician city by Dionysios. Its influ- ence seems further traceable in the facing head of Kama- rina on a drachm of that city (PI. III., fig. 9), and another of the River-God Amenanos by Choirion at Katane (PL III., fig. 6). But a still more important piece of evidence is supplied by the small bronze coin of Himera 21 of which a reproduction is given in fig. 4. Fig. 4. Copy of Kimon's Arethusa on Bronze Coin of Himera. There can be no doubt that the three-quarters facing head of the Nymph on this Himeraean hemilitron is directly and very literally copied from Kimon's head of Arethusa. But Himera itself was utterly wiped out by the Cartha- ginians at the close of 409 B.C., and it is evident that, late as this type must be placed in the Himeraean series, the original design from which it was copied cannot there- fore be brought down later than that year. We may even infer that this Himeraean copy was called forth under the immediate influences of the impression created by the first appearance of Kimon's masterpiece, and ascribe the issue of the Syracusan original, with some confidence, to ** B. M. Cat. Himera, No. 55 ; rev. IME, crayfish 1., above, = 6 ovy/aai. It was therefore a hemilitron. KIMON AND HIS WORKS. 71 the year 409. Earlier than this it can hardly be ; the quadriga schemes indeed on the two reverses with which it is coupled bear the closest resemblance to those which mark the latest tetradrachm issue of Gela struck during the years that immediately preceded its destruction in 405. 22 The ear of barley, moreover, on the exergue, which accompanies Kimon's reverses, reappears in the same position as the Gelan coins. 23 The date of Kimon's beautiful tetradrachm with the facing head of Arethusa thus approximately established, affords, as already observed, a sure guide to the approxi- mate chronology of Kimon's later " medallions," with the head in profile of the same Nymph. In spite of the difference in the point of view from which the two faces are taken, their correspondence in expression and physiog- nomy is most striking, though the slightly more advanced style of the dekadrachm (Type III.) may incline us to bring down its date of issue a few years later. The considerable difference in style between Kimon's earlier type of Arethusa on his dekadrachm of lower relief and that of his later issues, does not necessarily imply any great discrepancy of date. As a matter of fact, both classes are accompanied by the same reverse type, nor had the dies of the reverse at all deteriorated at the time when Kimon's later u medallions " were first struck. The difference in style is largely to be attributed to other causes. In the case of his original design for the head of Arethusa, Kimon, as will be shown more fully in the course of this paper, himself of non-Syracusan extraction, was evidently bound down by the traditions of the Syra- 22 B. M. Cat. Nos. 58, 59. 23 Pertinent parallels from the same period of years may also be cited from Kamarina and other cities. 72 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. cusan mint, and contented himself with improving and elaborating with excessive richness of detail a pre-existing model. By the time that he executed his bolder designs of the tutelary Nymph, he may well have acquired a more assured position in his new home, and could give freer vent to the promptings of his own genius and to the independent art-traditions that he had brought with him. What those traditions were and whence he brought them, is best shown by the evidence of his masterpiece, the facing head of Arethusa. Before, however, entering on this part of our subject, it may be well to consider this noble work in its relation to contemporary Sicilian attempts at a perspective rendering of the human face, and to glance at the influence of Kimon's artistic triumph on the Hellenic world and its borderlands. The fact that a perspective rendering of the three- quarters face should have appeared at Syracuse as early as 409 B.C., need not in itself surprise us. The comparison which Kimon's masterpiece most naturally calls up is the three-quarters facing head of Pallas in the triple- crested helmet by the contemporary Syracusan artist Eukleidas. From the character of the reverse with which it is accom- panied, and which bears a marked resemblance to those executed by Evarchidas, in honour, it has been suggested, of a naval victory gained over the Athenians, 24 there seem 24 See Salinas (Ripostiglio Siciliano, &c., p. 15 18 and Tav. xxiii. 25) and Num. Chron. (1890, p. 301 seqq., and PI. XVIII., 6, 7), where I have accepted Prof. Salinas's suggestion that the aplustre held by Nike refers to a naval victory over the Athenians. From the somewhat early character of the obverse heads by Phrygillos, which seem to date from the period before the Athenian siege, it is preferable, however, to suppose that the trophy refers to the earlier victory of the winter of 414-413, rather than that of September, 413. K1MON AND HIS WORKS. 73 to me to be good reasons for referring this famous design to a date at least as early as Kimon's head of Arethusa, indeed an example of Eukleidas' tetradrachm occurred in the famous Naxos hoard buried about 410 B.c, 25 It is, however, to be observed that though in this case the artist was greatly aided by the helmet in overcoming the difficulties of a facing portraiture, his design fails to con- vey that sense of freedom and of mastery over technical difficulties that looks forth from Kimon's Arethusa. The same is true of the facing head of the youiig River-God Fig. 5. Triobol of Selinus. Hipparis, by Evzenetos, on a didrachm of Kamarina that also belongs to this period. 26 Dr. Weil has already called attention to the fact that the three-quarters head of Herakles which appears on a hemidrachm of Selinus must have been engraved before the date of. the overthrow of that city, and I am now able to reproduce in Fig. 5 another Selinuntine silver piece of the same denomination, 27 in which the head of 25 See Appendix B. For Eukleidas' tetradrachm see B. M. Cat., 198, 199; Weil, Kunsthrinschriften, Taf. iii. 7. 26 B. M. Cat. No. 16 ; Weil, Kunstlerimchriften, &c., Taf. ii. 6. That this is by no means one of the latest types of Kamarina is shown by the fact that the reverse design of the nymph riding over the waves of her lake, which is also evidently from Evaenetos's hand, was copied on more than one die by the local (and inferior) engraver, Exakestidas. 27 The weight of this coin is 28 grs. : it is therefore a triobol. A caricature apparently intended to represent this coin was published by Castelli (Tav. Ixvi. 2), but since his time the type has been lost sight of. L 74 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. the youthful God appears almost full-facing, and with the mane of the lion's scalp, with which he is coifed, waving behind him in every direction, in a manner suggestive of Arethusa's tresses on Kimon's die. Yet this coin also must have been issued by 409 B.C. The fact that these other Sicilian examples are not so advanced in their treatment of perspective as the master- piece of the Syracusan engraver, does not then prove any real discrepancy of date. That Kimon, in his facing head of Arethusa, had achieved something that went beyond anything that had been hitherto accomplished in this branch of engraving, is shown by the great impression it made on his contemporaries, and that not only in Sicily itself, at Himera, or at Phoenician but Hellenized Motya, but in the Mother- Country of Greece and even in the Asiatic borderlands of Greek and Oriental. And the early date of the imitations of Kimon's design thus called into being is specially noteworthy. Already, by the end of the Fifth and the first years of the Fourth Century B.C. it had been taken as the model for the beautiful series of Nymphs' heads, which from this time forth for the better part of a century adorn the coinage of the Thessalian Larissa 28 (PL III. 1315), and soon after 400 B.C. it had been adopted as the obverse design for their Staters by the Satraps of the ^olid and Cilicia (PL III. fig. 16). 29 28 B. M. Cat. Thessaly, &c., PL V. 14, VI. 112. I quite agree with Weil's verdict, op. cit. p. 31, that the earliest Laris- san designs of this head are copied from Kimon's " Mit allem Detail in der Behandlung der Locken." Gardner, Types of Gieek Corns, p. 154, does not go beyond the resemblance. From Larissa the type seems to have spread to Gomphi (B. M. Cat., PI. III. 24). 29 Due de Luynes, Numismatique des Satrapies (1846, p. 6), and cf. J. P. Six, Le Satrape Mazuios (Num. Chron. 1884, p. KIMON AND HIS WORKS. /O But the facing head of Arethusa on the Syracusan coin itself had a prototype. Another comparison re- mains, which not only throws a light on the sources from which Kimon himself drew, but has a suggestive bearing on his own early history. There can, I ven- ture to think, be little doubt that this beautiful design was itself in its essential lineaments derived from the beautiful three-quarters facing head of a Nymph we may call her Parthenope which makes its appearance in the immediately preceding period on some didrachms of Neapolis. 30 (PI. III., figs. 1, 2). The arrangement of the locks, the ampyx and its border, the character of the eyes, the dimples about the lips, the whole expression of counten- ance, present such remarkable points of agreement, that it is even difficult not to believe that both are by the same hand, and that Kimon's initials may some day be detected on the band of the Neapolitan coins. The style of the engraving is also very similar to the finely incised lines of the hair, and recalls the use of the diamond point on gems of the same period. The greater simplicity of the Neapolitan design shows, however, that it is the original and not the copy. Its comparatively early date is, moreover, indicated by the style of the reverse and the boustrophedon epigraphy the civic legend appearing in the transitional 124 seqq., Pi. VI. 6, 8). M. Six assigns the earliest of these coins to the approximate date 894 387 B.C. Then follow others struck by Pharnabazos and Tarkamos, 387 373. The Due de Luynes' attribution of a coin of this type to Mania, wife of Zenis, Satrap of .ZEolis (op. cit., p. 48 ; SuppL, PI. VI. 2), who was strangled in 399 B.C., is untenable. M. Babelon has succeeded in tracing the original referred to in the Cabinet des Medailles, and the coin engraved turns out to be a misinter- preted bronze piece of Dardanos of later date with a three- quarters facing head of Apollo. 30 B. M. Cat., Italy, p. 94, No. 11. 76 STRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. form > HT ' an( * * fc ^ fcs on to st ^ ear ^ er versions of the same head in which the legend takes the form NEOPOI/I 31 A NEOPOH. 32 A a LJT and >3T companion-piece will be found in the beautiful Phistelian didrachm (PL III., fig. 3). The earliest of these coins must be referred to the years immediately succeeding the fall of Kyme, which took place in 423 B.C., and the immediate prototype of Kimon's Arethusa is probably itself as early as 415. The coincidences of style, design, and technique that reveal themselves between Kimon's three-quarters facing head of Arethusa and the slightly earlier head on the Neapolitan coin do not by any means stand alone. The profile head of Arethusa in the net on Kimon's later " medallions," as upon his fine tetradrachm, present both in their style and characteristic features a suggestive resem- blance to the profile heads of Parthenope and her sisters that about the same time make their appearance on some of the finest coins of Neapolis, Hyrina, and Nola. Examining such Campanian coin-types as those figured, PL II. 9 11, we notice the same bold relief, the recurrence of certain details in the ornament, to which attention will be more fully called, and a certain similarity in the manner of treating the hair, but above all we are struck by the same indefinable haughtiness of expression which forms such a marked characteristic of Kimon's beautiful heads of Are- thusa, and which in her case so fittingly bespeaks the double nature of her mythic being half Nymph, half Artemis. These Campanian affinities have an additional value when taken in connection with the range of Kimon's 81 Garrucci, Le Monete, &c., Tav. Ixxxiv. 24. 31 Op. cit., Tav. Ixxxiv. 23. KIMON AND HIS WORKS. 77 known activity in Sicily itself, and with the high proba- bility suggested by a recently discovered type that he himself was of Chalkidian stock. In a preceding com- munication 33 I have already endeavoured to show that about the middle of the Fifth Century B.C. an earlier Kimon left his signature on a fine tetradrachm of Himera, and have suggested that in this earlier artist we may venture to recognise the grandfather of the Kimon who toward the close of the same century worked for the Syracusan mint. I further showed 34 that this later Kimon executed more than one tetradrachm die for Messana, the Chalkidian mother-city of Himera, at a date slightly anterior to his first employment for the Syracusan coinage. As a matter of fact, while there is evidence of collabora- tion and interconnexion between the other contemporary engravers of the Syracusan dies, the signature of Eumenes being coupled on the same piece with that of one or other of his apparent pupils, Evaenetos and Eukleidas, and that of Phrygillos with Evarchidas, the reverses of Euth. . . forming a link between the two, Kimon stands by him- self, and except on a single drachm with I M on the observe his name is not associated with that of any other die- sinker. That this engraver, who appears thus isolated in the Syracusan series, who on the dies of Syracuse introduces a Neapolitan type and a Campanian style, and who was, as we have seen, doubly connected with Chalkidian cities of the East and North Sicilian shores, had himself origin- ally received his artistic training in one or other of the sister colonies on the opposite Tyrrhenian coast will 33 " Some New Artists' Signatures on Sicilian Coins," Num, Chron., 1890, p. 285 seqq. (P. 173 scqq. of this volume.) 34 Op. cit., p. 298 seqq. (P. 186 seqq. of this volume.) 78 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. hardly be thought an improbable conclusion. That he worked at least for one Italian mint appears certain from the occurrence of his signature on a silver stater of Metapon- tion, 35 presenting a female head, perhaps of Nike, in style somewhat later than a head of the same general character on one of the latest coins of Kyme. The special connexion of Kimon with the Chalkidian cities of Campania is, how- ever, brought out, as already noticed, by an ornamental feature which, though at first sight it may appear trivial, will be found to afford a very tangible clue both to the extraction of the artist and the date of his dies. The forms of earring, namely, with which Kimon's heads of Arethusa are adorned, are foreign to Syracusan and indeed to Sicilian 36 fashions, but on the other hand are closely akin to a type that is specially characteristic of the con- temporary dies of Neapolis and her sister cities. On the earliest coins of Syracuse on which this ornament appears, from the beginning of the Fifth Century onwards, it takes the form of a ring somewhat boat-shaped below and provided with an appendage that sometimes consists of a pyramid of beads or of one larger and two smaller globules, perhaps an outgrowth of the Homeric epfiara TpfyXijva, /zopoei/ra. 37 About the middle of the Fifth Century this 35 Garrucci, Le Monete dell' Italia antica, Tav. ciii., Fig. 16 and p. 137. In Garrucci's own collection. The inscription, according to Garrucci, is " K IMT1N " ', so far as the engraving is concerned, the .Q might be an incomplete O- Both text and engravings of Garrucci's book must, unfortunately, be used with caution. 36 With the partial exception of the Segestan tetradrachm referred to above as in many ways a parallel piece to Kimon's early dekadrachms. 37 See Helbig, Das Homerische Epos, p. 271 seqq,, and com- pare especially Figs. 97, 98, p. 274, with the Syracusan example in Head, Coins of Syracuse, PI. II., Fig. 10, &c. KIMON AND HIS WORKS. 79 fashion gives way to an earring in the form of a coiled ring (helix) which is still universally adopted by Eumenes, Sosion, Eukleidas, and on the earlier work of Evaenetos. Of the earlier engravers, Phrygillos alone occasionally discards it for a whorl-shell, a form of earring which also occurs in the ear of Aphrodite on an archaic terra-cotta relief found on the site of Gela, 38 as well as in that of Persephone Sosipolis on the gold litras of that city. In the Fourth Century, on the other hand, we find the coiled ring and all other forms of earring abandoned in favour of the type exhibiting a bar and three pendants. The earliest coins on which this latter form makes its appear- ance are apparently the dekadrachm by the New Artist and the gold hundred-litra pieces of both Kimon and Evaenetos. It was from the first adopted by Evaenetos for his "-medallions," and henceforth became of universal use on the Syracusan dies. On the other hand, the forms which occur on Kimon's dekadrachms stand apart from those employed by all other Pendants: A.Egyptian; B. Etruscan; C. Phoenician. Earrings: D. Kimon's Medallions ; E. Campanian. Fig. 6. Lotos Ornament and Earrings. Syracusan engravers. His earlier head of Arethusa is seen adorned with a very beautiful floral form of earring, consisting of a lotos flower with three drops (Fig. 6, D). 38 Now in the Ashmolean Museum at Oxford. 80 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. The decorative design is itself of Egyptian origin 39 and finds close parallels in Phoenician, 40 Cypriote, 41 and Etrus- can 42 pendants ; it is interesting, however, to note that as a Greek fashion it seems to have been specially rife among the Campanian cities. From about 420 B.C, onwards a form closely allied to that introduced at Syracuse by Kimon was in vogue at Neapolis, Hyrina, and Nola (Fig. 6, E), and it was only late in the Fourth Century that among the Campanian Greeks this floral type gave way to the bar and triple pendant. Upon Sicilian coins I am only aware of a single instance beside this early dekadrachm of Kimon in which this floral form is introduced ; and that in a very modified form. A somewhat analogous type, namely, is found on the beautiful head of the Nymph Segesta upon the tetradrachm of that city, 43 which has already been cited as standing in much the same typological relation to the Arethusa head of Eveenetos' early manner as the head upon Kimon's pentekontalitron. On the dekadrachms in Kimon's more advanced style and the tetradrachms that accompanied them, a simpler form of earring, consisting of a single drop, makes its appear- ance. This form is also strange to the Syracusan dies, but like the last, it finds abundant parallels on the Italian side. It is found at Kyme before 423 B.C. and slightly later at Neapolis. It seems, moreover, to have been specially fashionable at Metapontion, where it appears on the heads 39 Cf. Perrot et Chipiez, Egypte, p. 834, fig. 569, on bands of collar imitating pendants (xxii. Dyn.). (Fig. 6, A.) 40 Perrot et Chipiez, PUnide, p. 827, fig. 588. (Fig. 6, c.) 41 Cesnola, Cyprus, PI. XXLIL (Fig. 6. B.) 42 Museum Gregonanum, T. Ixxx. 4. (Fig. 6, B.) 43 PI. I., 4. It is well shown in the engraving in Salinas' Sul tipo de 1 tetradrammi di Segesta (Florence, 1871), Tav. I. f. 2. KIMON AND HIS WORKS. 81 of Hygieia and Homonoia of Late Transitional style, and it continues during the Period of Perfect Art, gradually giving place, however, to more ornamental forms, and finally to the bar and triple pendant. That these forms of earring introduced by Kimon did not hit Sicilian taste 44 seems clear both from their non-acceptance by his successors at Syracuse itself, and by the fact that in the later of the Motyan imitations of his " medallion " head they are discarded in favour of the new fashion. On some of the Panormitic pieces, struck about 410 B.C., a variety of the triple pendant already appears, and it looks as if this form, of the ornament had reached Syracuse under Carthaginian influence a few years later. Recapitulating the conclusions arrived at on various grounds with regard to the date of Kimon's " medallion " types, we arrive at the following results. The earliest of these (Type I.), representing the head of Arethusa in low relief (PL I., fig. 5), belongs to the years immediately succeeding 415 B.C., and in all probability, as I hope to show in a succeeding section, the date of its issue corre- sponds with the institution of the New Games in honour of the Athenian overthrow of 413 B.C. Closely following this, but in higher relief, is the type which in my account of the Santa Maria hoard has been described as Type II. (PI. II., fig. 1). It has not the- full human individuality of expression that characterises Kimon's more developed head of Arethusa as she appears, facing on the tetradrachm and in profile on his latest dekadrachm type. With this " medallion " issue corresponds the exquisite tetradrachm (PI. II., fig. 2) 44 It is to be observed that on Kimon's gold hundred-litra pieces the bar-earring with the triple pendant is used. In this case he seems to have simply imitated Evaenetos' model. M 82 STRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. with the profile head of the Nymph in high relief, and accompanied by a slightly earlier reverse scheme than those which appear on the coins with the facing head. The earliest of Kimon's gold hundred-litra pieces (PI. II. 3, 4) also reproduce the same facial type. Of Kimon's later " medallions," it seems to be Type II., only, that was imitated on the coins of Panormos and Motya, belonging, as has been already pointed out, to the Phoenician re- coinage about the time of the First Carthaginian expedi- tion. It is probable, therefore, that this " medallion " type was issued as early as 410 B.C. Next come the dekadrachms described as Type III. (PI. II., fig. 8), exhibiting a portraiture of Arethusa, which is simply the profile rendering of the same queenly countenance that looks forth from his masterpiece the tetradrachm with the facing head and the inscription APEOO^A, struck, as has been shown above, about 409 B.C. These coins represent the supreme develop- ment of Kimon's style, and the individuality of features and expression clearly indicate that they are both of them taken from the same living model, whose beautiful but distinctly haughty face haunts all Kimon's later pre- sentations of the tutelary Nymph, in much the same manner as the idealised heads of Andrea's wife or Raffaelle's mistress look forth from their Madonnas. The very intimate relation existing between the portrait on this "medallion" and the facing head on the tetra- drachm forbids us to bring down the date of the earliest example much below the year 409. On the other hand, its somewhat later style and the fact that this type was not, like the other two, imitated by the Siculo-Punic copy- ists of Kimon's " medallions," who seem to have executed their dies during the years immediately succeeding 410 K1MON AND HIS WORKS. 83 B.C., may incline us to bring it down as late as the beginning of the Dionysian Tyranny and approximately to the year 406. There is, however, more than one variety of this type, and as some of these are executed in a distinctly inferior style, we are justified in supposing that they belong to a somewhat later date. The earliest and most exquisite example of the medal- lions in Kimon's fully developed style is that engraved on PL II. fig. 8, and may be described as Type III. A. 45 It is much rarer than the coarser variety. The exquisite finish shown in the engraving of this head rivals that of Kimon's earliest work, and in one small but beautiful detail it stands alone amongst portraits of this artist. This is the indication of the upper eyelashes, a minute touch frequent on heads of the late Transitional Period at Syracuse, and still repeated by the earlier master, Eumenes, but which on the later signed coins is no longer seen. Parallelism of style and expression shows that Kimon's later gold staters (PI. II., fig. 9) belong to the same Period as this " medallion" type. What, however, may be called the rank and file of Kimon's later "medallions," though in other respects copied from this model, show a distinct falling off in their execution. These coins, of which more than one small variety exists, may be grouped together as Type III. B, and they represent the most abundant of Kimon's dekadrachm issues. It is possible that they were first issued two or three years later than Type III. A. From 45 B. M. Cat., Syracuse, No. 201 ; Head, Coins of Syracuse, PI. IV. 7. The band above the forehead on this coin bears no inscription. Examples exist in the British Museum and the Cabinet des Medailles (Luynes Collection). 84 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. the fact, however, that, though the commonest of Kimon's types, they are still rare by comparison with those of the rival artist, and from the strict adherence to a single model, it is not probable that their latest dies were executed much beyond the close of the Fifth Century. PART V THE ARTISTIC CAREER OF EV^NETOS AND THE INFLUENCE OF HIS " MEDALLION "-TYPE ON GREEK, PHOENICIAN AND CELT. THE earliest numismatic record of Evsenetos on the Syra- cusan dies or elsewhere is to be found on the remarkable tetradrachm (PI. I. 3), x already referred to as the prototype of Kimon's earliest "medallion," which was imitated in a more advanced style at Himera before 408 B.C., and, as will be shown more fully in the course of this section, at Segesta by about 415. 2 The head on this coin, struck in all probability before 420 B.C. perhaps as early as 425 is a masterpiece for the date at which it was engraved. Nothing can surpass the gemlike minuteness with which every detail, both of the obverse and reverse designs, is here elaborated. The ingenuity displayed is marvellous. To indicate apparently that the portrait is intended for Arethusa, the Nymph of the fountain by the waves, a dolphin, hardly visible to 1 B. M. Cat., Sicily, No. 188 ; Weil, Kumtlerinschriften, &c., Taf. ii. 1, and p. 10. Von Sallet, Kunstlerimchriften, &c., p. 17 ; Raoul Rochette, Lcttre, dr., sur les Graveurs, PI. II. 6, and p. 25, &c. 2 Its early date is also indicated by the frequent association of the reverse with obverse types of the earlier master Eumenes. (Cf. B. M. Cat., Sicily, p. 166, Nos. 148150.) 86 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. ordinary eyes, is engraved on the front band of the sphendone, leaping over the crested billows, just as on the parallel example of the same head executed by the con- temporary and fellow-worker Eukleidas, a swan appears in a like position. The signature on the obverse is hidden in a most unexpected quarter. By a sportive device the larger dolphin, swimming in front of the Nymph's lips, turns over and reveals upon its belly in microscopic characters the first four letters of the artist's name. Upon the reverse Nike, while flying forward to crown the charioteer, holds aloft a suspended tablet, bear- ing the full signature of the die-sinker in the early geniti- val form, EYAINETO- The bearded charioteer has still an archaic aspect, but the scheme of the horses, which are themselves exquisitely modelled, is altogether modern in the sensational incident of the chariot-race that it so graphically depicts. The rein of the farthest horse is broken, and has entangled itself round his foreleg and that of the horse beside him, 3 so that a worse catastrophe seems imminent. On other tetradrachms associated with heads either by Eumenes or Eukleidas, there is seen a reverse of a slightly later style containing the signature of Evasnetos, in the same full-length form, in microscopic letters on the exergual line beneath the chariot. 4 On this later reverse, in which the same episode of the tangled and trailing rein occurs, the sensation is heightened by the insertion of a broken chariot-wheel into the exergual space. A similar reverse, but with a head like that of the 3 This entanglement of the rein, which is clearly visible on a fine specimen of this coin in my own collection, seems hitherto to have escaped observation. 4 B. M. Cat., Sicily, p. 173, No. 190. CAREER AND INFLUENCE OF EV^ENETOS. 87 first- mentioned tetradrachm, 5 from the hand of Evsonetos, also occurs on a very beautiful hemidrachm 6 (PI. VII. Fig. 8). For the date at which they were engraved these tetra- drachms of Evaenetos are without a rival, and should by themselves be sufficient to give pause to those critics who would seek the full bloom of sensationalism on the Sicilian coin-types within the limits of the Dionysian epoch. Compared with Evsenetos' later dies, and notably his "medallions," the head of Arethusa, as it appears on his early tetradrachms and kindred hemidrachms, has been justly described by Von Sallet as executed in his " early manner." They were the works, he considers, of Evae- netos' youth, the dekadrachms of his mature age, and the two designs " stand to one another, if it is allowable to compare small things with great, as the Spozalizio to the Madonna di San Sisto. The gracefulness and chasteness of the small individual figures on the tetradrachms, the careful execution of the ornamentation and embroidery, all this greatly recalls the youthful works of Raffaelle and other Italian painters in contrast to their masterpieces, which as in the case of dekadrachms treat the details in a freer and less minute fashion." 7 The general justice of this criticism no one can doubt. Between the execution by this artist of his early tetradrachm dies and those of his " medallions " there must have elapsed a considerable period of years. 8 At Syracuse, indeed, Evsenetos is found again, apparently, as 6 B. M. Cat., Nos. 151 and 190; Head, Coins of Syracuse, iv. 4 ; Weil, op. cit., Tav. iii. 6. 6 Head, op. cit., PI. HI. 16. 7 Von Sallet, Kunstlerinschri/ten auf griechischen Munzen,p. 20. 8 Von Sallet, loc. cit,, allows an interval of two or three decennia between the two styles. 88 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. we shall see, in the years succeeding the defeat of the Athenians, executing the dies of the new gold hundred- and fifty-litra pieces. But the execution of these fits on to his later style, as seen upon his earliest silver deka- drachms, and from the evidence at our disposal we must conclude that there had intervened a period, partly covered by the Athenian siege, during which, for some unexplained reason, his connexion with the Syracusan mint had temporarily ceased. This gap is, in all probability, partly covered by his activity at Katane, where he produced two types, the tetra- drachms (PI. VII. Fig. 9, a and b) with the head of Apollo and the Delphic fillet, 9 and the drachms (PL VII. Fig. 10) with the head of the young river-god Amenanos, 10 which from a certain severity in their design must still be in- cluded amongst the works executed in his " early manner," though they are apparently slightly later than the Syra- cusan tetradrachm referred to. On the reverse of the former of these coins, on which the charioteer is seen in the act of rounding the goal, Nike appears above holding out to him a tablet bearing the first letters of the name of the engraver, a device which brings this coin into a very close relation with Evsenetos' early Syracusan works. The chariot with the broken wheel below, on the drachms exhibiting the head of Amenanos, is in fact the companion piece to those on Evsenetos' early Syracusan tetradrachms and hemidrachms. To this period of Evsenetos' activity also unquestionably belongs the beautiful didrachm of Kamarina (PL VII. Fig. 9 B. M. Cat., Sicily, p. 48, No. 35 ; Weil, op. cit., Taf ii. 4, 4 a ; Raoul Rochette, op. cit., PL I. 8. 10 B. M. Cat., p. 48, Nos. 3639 ; Weil, op. cit., Taf. ii. 5 ; Raoul Rochette, op. cit., PL I. 9. CAREER AND INFLUENCE OF EV^NETOS. 89 11), with the facing head of the river-god Hipparis, 11 the reverse design of which with the local Nymph upon her swan, sailing over the waters of her lake, was copied in the succeeding years on a series of dies by the local engraver Exakestidas. The swan above the waves, accom- panied by the same freshwater fish that is seen beneath on the didrachm of Evaenetos, occurs by itself on contem- porary KamarinaBan obols of the same period, the obverse of which displays a female head in a starred sphendone, recalling that artist's early Syracusan design. Besides the evidence of Evaenetos' activity during this interval at Katane and Kamarina, there is, I venture to think, a strong piece of circumstantial evidence connect- ing this artist about the same date with the Segestan mint. The fine head of the Nymph Segesta that appears on a tetradrachm of that Elymian city (PI. I. Fig. 4), 12 recalls, not only in its general expression, but in the minutest details, the Arethusa of Evaenetos' early Syracusan dies. The formation of the eye, and slight almost imper- ceptible incurving at the spring of the nose, the delicate folds of the neck, are reproduced in such a way as to make us conscious of very similar touch, and the arrangement of the hair, though it shows a greater development, as if to give promise of the curling tresses of Evaenetos' Kore, is substantially the same. On the other hand there are certain features in the design, such as the indication of the upper eyelashes and the laced fringe of the sphen- done, that are taken, not from Evaenetos' early head of Arethusa, but from the head as it appears on a die 11 B. M. Cat., Kamarina, No. 16. 12 B. M. Cat., No. 32; Salinas, Sul tipo de tetradrammi di Segesta, Tav. 1. 2. The obverse legend is ELE TAHA ; the reverse 90 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. of the earlier artist Eumenes, from which he himself copied. 13 This variation in the design still according with the artistic tradition of Evaenetos may be taken as a strong indication that this beautiful head of Segesta must be referred, if not to EvEenetos himself, at least to some Syracusan pupil of that engraver. One feature alone the earring is new. It belongs to a later fashion, and is interesting as presenting a form intermediate between the lotus-flower pattern and the simple triple pendant of Evsenetos' later coins. 14 Whether the reverse type of this coin, representing the youthful river-god Krimisos pausing in the chase, be from the same hand as the head of the Nymph Segesta, it would be more difficult to determine, but it is in any case a work of which Evaenetos himself might have been proud. And with regard to the date of this Segestan coin we have some very clear indications both numismatic and historical. It belongs to a small and exceedingly rare class of coins of this denomination, presenting transitional traits both in their epigraphy and art, which unquestion- ably owed their origin to the exhaustive and by no means scrupulous efforts of the Segestans to secure and maintain the active co-operation of the Athenians, in their struggle against the combined Selinuntines and Syracusans, by imposing on .their old allies with an exaggerated show of their opulence and splendour. Readers of Thucydides will be familiar with the story of how the " Egestaeans " took in the Athenian envoys by borrowing plate from other cities as well as their own Treasury and passing it on 13 B. M. Cat., Sicily, p. 166, No. 152 ; Weil, op. cit., Taf. 1. 7. 14 See p. 79. CAREER AND INFLUENCE OF EV^ENETOS. 91 from one entertainer to another, or how they paraded to them their offerings in the temple of Eryx, which, though only of silver, seem from the impression they produced to have been coated with the more precious metal. 15 That the citizens now for the first time minted a fine tetra- drachm coinage executed by the first artists of the day in place of the somewhat rudedidrach'ii issues with which they had hitherto contented themselves, is all of a piece with this parade of borrowed plate and silver-gilt goblets. There is every reason then for confining this Segestan show-coinage to the period between the despatch of the Segestan envoys and the return visit of the Athenians in 416 B.C., and the final catastrophe of their Athenian allies in 413. 16 The Segestan piece that immediately concerns us is not the earliest tetradrachm type of that city, but neither is it the latest. On the one hand we find the same reverse die with which it is coupled also associated with a very diffe- rent head of the Nymph, belonging properly to a didrachm type and of rude transitional workmanship. 17 On the other hand there is extant a later version of the design of the youthful River-God Krimisos, associated with a gallop- ing quadriga, on a tetradrachm, which probably represents the latest issue of the kind at Segesta. 18 "We shall not 18 Thuc. Hist, vi., c. 46 ; and cf. Diodoros, lib. xii. c. 83. 16 The sixty talents paid to the Athenians by the Segestans before the expedition were, however, of uncoined silver (ao-^aou apyvpiov), Thuc. vi. 8. 17 B. M. Cat., Segesta, No. 30 ; Salinas, Sul tipo de 1 tetradramini di Segesta,TscV. 1. 3. The highly interesting tetradrachm in the De Laynes collection (Salinas, op. cit., Tav. 1. 1, and p. 9, seqq.}, is also slightly earlier. It shows the older epigraphic form ETESTAION. 18 B. M. Cat., Segesta, No. 3i; Salinas, op. cit., Tav. 1. 410. 92 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. therefore be far wrong in fixing the years 415 or 414 as the approximate date of the piece under discussion ; and whether the obverse die of this coin was executed by Evaanetos himself or one of his pupils, this chronological datum has, as already noticed, 19 an important retrospective bearing on the date of the early Syracusan tetradrachm of that artist. For it is certain that, whoever was the actual engraver of the die, the design itself stands in a filial relation to his Syracusan type. A certain advance in style, the greater development of the hair, the new form of earring, are so many indications that some years at least had elapsed between the engraving of Evaenetos' early head of Arethusa and its Segestan copy. In presence of this beautiful head of the Nymph Segesta, we feel ourselves indeed much nearer the later version of Arethusa, if Arethusa it be that occurs with Evsenetos' signature on the gold hundred-litra pieces of Syracuse, executed, as we shall see, not long after the Athenian defeat. This Segestan work, of which it may at least be said that it belongs to the school of Evsenetos, is indeed of extreme utility in enabling us to bridge over his earlier and his later " manner," and to supply a tolerably consecutive art-history of this engraver. Of the importance of this Segestan coin in its bearing on the earliest dekadrachm type of Kimon, with which it also presents so many points in common, enough perhaps has been said in the preceding section. 20 Apart from the possibility of his having worked for Segesta, the activity of Evsenetos at Katane during the period which includes the Athenian siege sufficiently accounts for the break in this engraver's connexion 19 See p. 55. * See p. 56. CAREER AND INFLUENCE OF EV^ENETOS. 93 with the Syracusan mint. If Segesta was the original ally and inviter of the Athenians, Katane became throughout the period of hostilities an Athenian place of arms. There is quite enough therefore in the circum- stances of the times to account for the detention of Evaenetos, far longer than he himself may have desired, outside the walls of the great Sicilian city which had been the scene of his earliest as it was to be of his latest work. In 409 B.C. peace was formally concluded between Syracuse and Katane, and it is a significant fact that about this date Evaenetos appears once more at Syracuse, as the engraver of the dies for the new gold coinage. This new gold coinage consisted of pieces of two de- nominations ; the larger, representing a silver value of a hundred litras, and the halves of the same of a gold value equivalent to the silver " medallions " or penUkonta- litra. 21 The hundred-litra pieces (PI. V. figs. 1 3) 22 present on their obverse a head of Arethusa in the star- spangled sphendone, the earliest of which very closely approach the head of the same Nymph on Kimon's earliest medallions of the higher relief (Type II.), struck, as we 21 Head, Coint of Syracuse, p. 20. 22 A hoard containing some fine specimens of these gold coins has recently been discovered at Avola, in Sicily, and pub- lished by Herr Arthur Lobbecke (Munzfund von Avola in Zeitschr.f. Num. 1890, p. 167 seqq.) Thanks to the kindness of Mr. H. Montagu, I am able to reproduce in PL V. figs. 1 and 2, two fine gold staters of Evsenetos from this hoard, which are now in his Cabinet. Many have been acquired by the British Museum. According to my own information more than one find has been discovered in the same Sicilian district within the last few years, and I have myself seen specimens of two hoards of very different composition, one apparently dating from the early part of the Fourth Century and the other from the begin- ning of the Third. The coins described by Herr Lobbecke 94 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. have seen, 23 from about 410 B.C. onwards. From the signa- tures that accompany them it appears that both Kimon and Evaenetos contributed towards producing these dies. The signatures appear in the forms EYAI, EYAINE, 24 K, and Kl, and are always on the obverse side. The civic name appears on one of the coins signed by Kimon, 25 in the earlier form ^ YPA KO^ ION, but otherwise the fl is always present. The form of the earring also varies. On some pieces it is a single drop, as on Kimon's later " medallions." On the greater number of coins, how- ever, the triple pendant is found. The pellets and star which at times accompany the obverse head exhibit a parallelism with some of the silver dekadrachm types of Evsenetos ; 26 and this, as well as the development per- seem to me to belong to two distinct hoards, one of early gold coins including, besides the Syracusan, staters of Lampsakos and Abydos and a Persian Daric : the other of late silver coins, Pegasi, &c. Many gold coins of Agathokles and Hiketas were also found here about the same time as the early staters, but these seem to have belonged to a third and still later hoard. 23 See pp. 67 and 82. 84 The legend EYAINE occurs on an example in the Cabinet des Hedailles, Paris, published by the Due de Luynes, Rev. Xum. 1840, p. 21. Comparing this with another hundred- litra piece in the same collection with the signature (Kl) of Kimon, the Due de Luynes observes : " Identiques pour le type ces deux stateres, graves, sans doute, en concurrence par les premiers artistes de Syracuse, offrent pourtant toute la difference de relief, de pose, de tete, et de traits que Ton observe entre les medallions d'Evaenete et ceux de Cimon." 5 B. M. Cat., Sicily, p. 170, No. 168. 26 On one gold piece (Annuaire de Numitmatique, 1868, PL III.) two pellets are seen, which Head (Coins of Syracuse, p. 20) with great probability takes to stand for two dekadrachms. On some silver dekadrachms of Evsenetos a single pellet is seen, as if indicating the half of the gold coin. It is evident therefore that tbe issue of these gold hundred-litra pieces overlapped that of Eva?netos' silver pentekontatitra. CAREER AND INFLUENCE OF EV.HNETOS. 95 ceptible in style, shows that these gold hundred-litra pieces continued to be issued for a certain number of years. Of the gold staters of Evaenetos those with the star behind the head (PI. V. fig. 1), which, although unsigned, must in all probability be attributed to this artist, are unquestionably the earliest. They present, as will be shown, a remarkable parallelism in style with his earliest " medallions.' 5 The latest type (PI. V. fig. 3) is executed in his most modern manner and displays his signature. The reverse of these gold staters represents a noble design of Herakles strangling the Nemean lion, which seems to betray the influence of a great work by Myron. No signature is attached to this design, and we can only infer that some dies' are from the hand of Kimon and some from that of Evaenetos. The halves of the larger pieces, or gold pentekontalitra, show on one side a young male head, evidently of a River- God whether Anapos or Assinaros it might be hard to determine and on the other a free horse on a kind of double base. From the E which occasionally appears behind the head (cf. PI. V. fig. 4), it is evident that Eva3netos engraved some, at least, of the dies. The appearance of the free horse upon these coins is itself a most valuable indication as to date. By the analogy of the later coins of Syracuse, in which the same device is coupled with the head of Zeus Eleutherios, and which belong to the days of the later Democracy, 27 we are 27 I have elsewhere brought forward reasons for believing that this type belongs to the time of Alexander the Molossian's expedition (Horsemen of Tarentum, p. 83). The cult of Zeus Eleutherios, however, had been introduced into Syracuse as early as 466 B.C., on the exile of Thrasybulos and the estab- 90 SVRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. naturally led to associate this type with the democratic outburst that followed at Syracuse on the defeat of the Athenians, and which took concrete shape in the banish- ment of Hermokrates and the aristocratic leaders, and the revision of the constitution by Diokles. 28 The contempo- rary type of Herakles strangling the lion, also in all probability, contains a speaking allusion to the liberation from the great danger of foreign dominion that had threatened Syracuse and Sicily. At a little later date, indeed, we find a similar design appearing on the federal coins of the Italiote Greeks, with a direct reference to the strife against their common enemies. As a symbol of alliance, moreover, the actual design as it occurs on the Syracusan hundred-litra pieces was copied on a silver stater of Tarsos (PI. V. fig. 8), and another of Mallos, in Cilicia, belonging to the period between the Persian dominion and that of the Seleukids. 29 The obverse of the coin of Tarsos represents a female head of Hera in a Stephanos adorned with an anthemion an offshoot of the Argive type accompanied by the legend TEP^IKON. That of Mallos displays a head of Zeus, laurel-crowned, and, according to the Due de Luynes, the reverse of both pieces, representing Herakles strangling the lion, is from lishment at that time of a democratic government. (Diod., xi. 72.) 28 I observe that Mr. Head (Coins of Syracuse, p. 20), though he was inclined to place the issue of these gold pieces under Dionysios, was so far impressed with the same argument that he writes, " The type is more appropriate to the Democracy than to the Tyranny of Dionysios ; possibly the dies were engraved shortly before his accession, but as it has the n it is not likely to be much earlier than 406." 29 Due de Luynes, Essai sur la Numismatique des Satrapies et de la Phenicie, p. 62; Suppl. PL XI. (\Vt. 10'50 grammes; Cabinet des Medailles.) CAREER AND INFLUENCE OF EV.ENETOS. 97 the same die, a remarkable evidence of a monetary conven- tion between the two cities. 30 That, as a matter of fact, the earliest of these gold pieces date back to the Democratic period that succeeded the Athenian siege is shown by a remarkable, though hitherto neglected, piece of evidence. The free horse, namely, on the gold fifty-litra pieces, above described, with the curious double base below, supplied the design for some of the earliest Carthaginian tetradrachms struck in Sicily, which, as already stated, must be referred to the date of Hannibal the son of Griskon's expedition. It is highly probable that this early Carthag'nian coinage for the use of the mercenaries employed in Sicily was largely struck out of the immense treasure acquired by the successive capture of Selinus and Himera, in 409 B.C., and shortly sup- plemented by that of Akragas and Gela. The immediate occasion of it may well have been the equipment of the second expedition under Hannibal and Himilkon, just as the preparation for the first Expedition seems to have called forth the first " Carthaginian " issue of Motya and Panormos. Up to this time Carthage had no coinage of her own, and for a while her generals were content to use the currency of her Phoenician dependents in the Island. But the practice of her allies, the needs of her Campanian mercenaries and the loot of the Greek cities seem by the time of the Second Expedition to have sug- gested to her commanders the propriety of striking an independent coinage with the name of Carthage. The approximate date for the first coinage of these " Camp Pieces " may be therefore set down as 406 5 B.C. 31 30 Op. cit. p. 62, "Meme coin du revers que la niedaille de Tarse." (Wt. 10'27 grammes: De Luyne? Coll.) 31 See pp. 64, 67. 98 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. Of this early " Camp Coinage " there are two main types, both of which were well represented in the recent West- Sicilian find, described under Appendix A. These coins, which bear the legends Machanat Cf^H^), or "the Camp," and Kart-Chadasat CfW'HPf 1 ^ ), 32 or " Carthage," show on their reverses the Phoenician palm- tree, but the obverse designs of both have a direct reference to the contemporary gold coinage 'of two Sicilian Greek cities, in the one case of Syracuse, in the other of Grela. The obverse of one of these Carthaginian types repre- sents a free horse galloping to the left and crowned by a flying Victory (PI. Y. fig. 10), and, though the Victory is absent on the Syracusan piece, the horse itself is a very exact reproduction of that which appears on the gold dekadrachms of Syracuse already referred to. That it is, in fact, taken from the Syracusan coin appears from the further reproduction of the double-lined base, or two-fold exergual line which is seen beneath the horse on the Syracusan original, and which on the Punic copy serves at times to contain the inscription Kart-Chadasat, in the same position as the ^YPAKO^I-QN on some of the Syracusan originals. A double exergual line is itself so exceptional a phenomenon that its appearance beneath the horse in both designs, as well as its connexion with the legend, affords a clear indication that one is taken from the other. A similar indebtedness is also shown by a Siculo-Punic didrachm 33 with the inscription " Ziz," and in this case, moreover, the youthful male head on the obverse was evidently suggested by that of the Eiver-God on the SyTSLCMsao. pentekontatitron. 32 L. Miiller, Numismatique de Vancienne Afnque, vol. ii., p. 74, 75. 33 B. M. Cat., Sicily, p. 248, No. 20. CAREER ATS'D INFLUENCE OF EVJENETOS. 99 On the other main type of these early Carthaginian tetra- drachras the free horse is replaced by the forepart of a horse, usually equipped with a bridle, the loop of which curves up in a curious way behind his head (Fig. 8). This type, in its turn, recalls the half horse with a looped bridle on a gold litra of Gela, the obverse side of which displays a head of Persephone and the inscription ^ fl ^ I- POAI 3 (Fig 7). 34 This small Gelan coin is the half of a better-known gold dilitron having a whole horse on its reverse, and, taking the proportion of gold to silver as 15 to 1, the two coins respectively represent silver values of six and three drachmae. It will be seen that the half horse on this Gelan coin has a real significance, indicating, according to a well- Fig. 7. Gold Litra of Gela. (2 diams.) established rule of the Greek monetary system, that it is the half of the larger piece representing the complete animal. On the Gelan piece, again, in conformity with the half bull which is the usual type- of the city and stands for the river-god Gelas, the half horse is repre- sented as swimming rather than galloping, and this peculi- arity of the motive seems slightly to have affected the 34 This coin, of which I obtained a specimen from the site of the Greek cemetery at Gela (Terranova), a vineyard of Sig. E. Lauricella, in 1888, is of the greatest rarity, and has not been described by any author since an indifferent engraving of it appeared in Castelli's work (Auct. II. (Helens ium). It weighs 13 grains (cf. p. 63). A forgery of this type is known, with a much coarser head and in higher relief, a specimen of which was sold in the York Moore sale. 100 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. forelegs of the horse on some of the Carthaginian coins. The grain of barley here seen either before or above the horse is evidently taken from the contemporary tetra- drachms of Gela, where it appears above the bull. It is highly probable that this issue was struck out of bullion acquired by the capture of Gela in 405 B.C. It is evident that the Carthaginian moneyers, in attach- ing this half horse with the looped bridle to their new dies, were simply transferring a design from a place where it had an obvious meaning to a place where it has no special appropriateness. The Gelan gold litra is the original, and the Siculo-Punic tetradrachm is the copy, finely executed, indeed, and by a skilled Greek hand. Fig. 8. Carthaginian "Camp-Piece" (Tetradrachm). We thus acquire a useful analogy for the contemporary imitation of the small Syracusan gold piece. From this Gelan parallel, as well as on the ground of general proba- bility, we are entitled to infer that in this case, too, the design on the Greek coins is the original, and the Punic a copy. 35 35 That the Carthaginian moneyers should have thus selected the horse and half horse for imitation on their -coinage was probably not due to arbitrary causes. The horse seems to have had a special significance in their eyes as a Libyan emblem (cf. Movers. Phoni^ier, ii. 1, p. 4; M tiller, Num. de I'ancienne Afrique, ii. 115); and perhaps as consecrated to the God of the Sea. On many Siculo-Punic and Carthaginian coins, however, it is undoubtedly associated with symbols of Baal and Ashtoreth. CAREER AX I) INFLUENCE OF EV^NETOS. 101 It thus appears that some at least of the gold fifty and hundred-litra pieces of Syracuse were already in circula- tion before the date of the first issue of these Carthaginian " Camp Coins," which, as has been shown, may be approxi- mately set down as 406 5 B.C. On the other hand, from the fact that upon these coins, with very few exceptions, the earring with its triple pendant already occurs, it is probable that they were not issued much earlier than this date. In close connection with these Punic tetradrachms, and attesting the same Syracusan influences, must also be men- tioned two extremely rare Punic gold pieces (PI. V., fig. >/ $ 1^}, weighing respectively 117'9 36 and 23 grs. 37 Both ' these coins exhibit an obverse head of Demeter, with a single-drop earring wreathed with ears of barley, which seems to show the influence both of the gold hundred- litra pieces of Evaenetos and of his silver " medallions," with the head of Kore. 38 They bear at the same time on their reverse a free horse on a double-lined base, evidently derived from the reverse design on the fifty-litra gold piece by the same artist, though here consecrated, as it would seem, to the Phoenician divinity by the symbol fa, placed in the field above it. From the superior style of 36 Muller (Xum. de Vane. AJriqiw, ii. p. 86, No. 74). The single example cited is in the B. M. Another variety exists with- out the symbol. Both are Phoenician staters (Muller, No. 75). 37 In the B. M. a smaller gold coin also exists, with a similar head and a horse's head on the rev. Muller, op. cit. ii. p. 87, No. 77 (Weight, 1-67 1'52 grammes). 38 A Siculo-Punic tetradrachm, with the inscription, Kart- Chadasat (Muller, op. cit. p. 74, 1; Head, Coins of the Ancients, PI. XXVI. 39) shows an obverse head of tbe same type, but with an earring of three pendants in place of a single drop, which betrays the later fashion. The reverse, a horse standing in front of a palrn-tree, fits on to a somewhat later series of Siculo- Punic coins. 102 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. these coins, which separate them longo intervallo from the later gold and electrum series of Carthage, it is evident that, like the tetradrachms with the similar reverse type, they must be referred to the earliest period of Cartha- ginian coinage in Sicily. In this case, the first appear- ance of the head of Demeter on a coin struck by Cartha- ginian authority was, in all probability, anterior by a few years at least to the outrage on her Syracusan sanctuary that evoked the special expiatory cult of the Goddess at Carthage itself. There is nothing, at least, in such a supposition that need surprise us. The Hellenization both of Carthage itself and its dependencies in the Island had by this date reached such a pitch that the acceptance by them of the cult of the presiding divinities of Sicily was only to be expected. The head of Arethusa, on one side of her mythical being more of a Goddess than a Nymph, had already been copied at Motya and Panormos. Nay, more, we know that as early as 480 B.C. Gelon had required the Carthaginians to build two temples, which could not well be other than those of " the Goddesses," in which the stones were to be preserved whereon the treaty was graven. 39 Both the fact that the cult of Demeter and her Daughter was probably of old standing at Carthage at this date, and the actual appearance of the head of the Mother Goddess on Carthaginian gold types presumably anterior to 396 B.C., bring into relief a negative phenomenon which the recently discovered West Sicilian hoard 40 39 Diod. xi. 26. Freeman, Sicily, ii. 210, remarks : " These could not fail to be temples to Greek deities ; we may say almost with certainty that they were temples to the goddesses of Sicily, the special patronesses of Gelon and his house, Demeter and the Kore." 40 See Appendix A. CAREER AND INFLUENCE OF EV^ENETOS. establishes with great precision. In that hoard, with- drawn from circulation about 400 B.C., the early " Camp coinage " of Carthage in the Island, presenting the horse and half horse, together with the contemporary or slightly earlier issues of the old Phoenician settlements Motya and Panormos, was brilliantly represented. 41 There oc- curred a "medallion" in Kimon's later style (Type II.), slightly used, and three early " medallions " of Evaenetos in brilliant condition ; but whereas among the Phoe- nician coins of Motya and those inscribed Ziz, which must probably be referred to the Panormitis, there were, as already mentioned in the section on Kimon, a series of imitations of the earlier " medallion " types of that artist, 42 not a single example occurred of a Siculo-Punic coin- type imitated from the Kore head of Evaenetos, though we know that at a slightly later date this mag- nificent design took, as it were, the Punic world by storm. In the absence of any religious reason for not copying this type, which, as we have seen, there is no warrant for supposing, the inevitable conclusion to which we are led is, that at the time when, in 410 8 B.C., this class of Motyan and Panormitic coins first issued from the mint, the silver dekadrachms of Evsonetos had not yet made their appear- ance. In this department Kimon still held the field. On the other hand, it does not seem safe to bring down the first issue of Evaenetos' " medallions " many years below this date. From the fact that two fine specimens of Evaenetos 5 dekadrachms were contained in the " West Sicilian " hoard, there is good reason for believing that their issue had begun some few years at least before 400 B.C. The gold hundred-litra pieces of Evaenetos 41 See Appendix A. 43 See p. 66 seqq. 104 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. supply a still more definite chronological indication. Just as the earliest of the gold staters presenting Kimon's signature show an obvious analogy in style to his second type of silver dekadrachms, 43 so the earliest of those attributable to Evaenetos connect themselves in the most evident manner with his early silver " medallions," exhibit- ing a cockle-shell behind the head of Kore (PI. V., fig. 10). This is the " medallion " type the reverse of which, as already pointed out, 44 shows the nearest approach to that of the New Engraver, and which closest follows his work in date. If, then, as shown by their Carthaginian imita- tions dating from 406 5 B.C., the gold staters of Evaenetos were struck by about 408 B.C., it becomes highly pro- bable, on every ground, that the earliest " medallion " dies were engraved shortly after that date, say, by 406 B.C. The date thus acquired for the first issue of the silver " medallions " of Evaenetos agrees very well with the fact, deducible from the marks of value that occur on some of them, 45 that the coinage of the gold hundred-litra pieces seems to have to a certain extent overlapped that of these silver pentekontalitra. In the case of the gold coins two dots occasionally occur beside the head ; in the case of their silver halves a single dot. The first appearance of Evaenetos' splendid design of the head of Kore at the very beginning of the Dionysian Era fully agrees with the intimate relation in which it stands to the head of the same Goddess on the newly dis- covered " medallion," the issue of which has been referred to the same date as Kimon's third " medallion " type, or approximately to the same year, 40ft B.C. Of the relation in which Evaenetos' " medallion " type 48 See p. 82. ** See p. 43. " See p. 94, note. CAREER AND INFLUENCE OF EVAENETOS. 105 stands to the work of the New Artist enough will have been said in the section devoted to that subject. As supplying a new standpoint for critically surveying the masterpiece of Evoenetos, the new coin has an unique value. Especially does it bring into clear relief that artistic quality of Evaenetos which led him, in his more modern presentation of the Kore, to subordinate details to the general effect, while the reverse type illustrates his singular ingenuity in bringing out by characteristic touches the most thrilling incidents in the chariot race. In the " medallion " series of Evaenetos himself there is distinct evidence of a progressive advance in style which is most palpably perceptible in the treatment of his chariot groups. The action of the horses on his earlier dies is much more even and level far less sensational, indeed, than on the tetradrachms executed by him at a considerably earlier date. In this again, as suggested above, we may detect the sobering influence of the very regular and harmonious design in the "medallion" by the New Engraver. Upon the dekadrachms of Evaenetos, however, the action of the horses becomes rapidly higher, till the foremost horses seem to break away from their fellows. To attempt any exact chronology of these successive issues would be impossible with the data at our disposal. The variety of dies and the different symbols introduced, as well as the evidences of development in style, show that the coinage of the silver dekadrachms of Evaenetos must have continued for a considerable number of years. Among the earliest types, after those with a cockle-shell behind the head of Kore (PI. V. fig. 10), which must cer- tainly claim precedence, are those which present a A (pro- babh r = AeKalpa-x/jiov] in the field, and the signature p 106 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. EYAINE beneath the neck (PL Y. fig. 11). The latest is unquestionably the new type afforded by the Santa Maria di Licodia hoard, exhibiting the full signature in the later orthography EYAINETOY, beneath a head of abnormally small proportions 46 (PI. V. fig. 13). From the evidence supplied by this find it appears that this latter coin must have been struck before the approximate date 380 B.C. If we allow a period of about twenty years for the engraving of Evaenetos' "medallion" dies, it may have been struck as late as 385 B.C. From the oxidized or fractured state to which some of the dies had been reduced when many of the coins bearing his designs were struck, it appears, however, probable that they still con- tinued in use at a time when, whether from death or old age or some other cause, the activity of Evaenetos himself had ceased. 47 The fact, to which attention will be shortly called, that these fine coins continued to be imitated, both by Greeks and Carthaginians, down to the Third Century B.C., also tends to show that their circulation, if not their issue, continued to be fairly abundant for some time after the latest possible date at which their dies can have been engraved. This conclusion, as I hope to show, is of considerable importance in helping us to bridge over an extensive gap in the Syracusan coinage. The appearance of the head of Demeter on the early Siculo-Punic gold pieces above referred to, is at most an isolated phenomenon. It does not exclude the main fact with which we have to deal, 48 namely, that the attempts made by Carthage to reconcile the offended Goddesses for See p. 22. 47 See p. 20, 25. 48 Diodoros xiv. 63 and 77. Cf. Miiller, op. cit. ii. pp. 110, 111. Miinter, Beligion des Carth. p. 108 ; De Saulcy, Ac ad. des Inscriptions, T. XV^ PI. II. p. 53, 54. CAREER AND INFLUENCE OF EV^NETOS. 107 the profanation of their shrines during the campaign of 396 4, in all probability explained the prominent place assumed by Demeter and her daughter on the later Punic coinages, both in Sicily and Africa. The date of this solemn propitiation may, perhaps, be approximately set down as 393 B.C., and it is some time after this that the brilliant series of tetradrachms presenting obverse heads copied from the Kore of Evaenetos' medal- lions makes its first appearance from the Siculo-Punic dies. The bulk of these coins belongs, indeed, to a considerably later date, and they are of decidedly later style than the coins presenting the free or half horse. The earliest are accompanied on the reverse sides with a quadriga and the inscription Ziz (PI. VII. fig. 2), or by a horse in front of a palm-tree without any legend (PL VI. fig. 11). . The quadriga types with which Evsenetos' Kore is coupled on the Carthaginian coins of Sicily are generally borrowed from those of Evaenetos, and a good example of an imitation of the most sensational chariot group of that artist on a coin of Herakleia Minoa (Rash Melkart) will be seen on PI. VII., fig. 1:3. At times the head of the young Goddess on those Punic pieces is accompanied by symbols, such as the cockle-shell and the griffin's head, that are associated with it on the Syracusan medallions ; at times it is coupled with a caduceus* 9 a thymiatf.rion, or a i oppy-head, and on one very beautiful type 50 (PI. VII. 49 The symbol of Taut-Cadmus, the Egyptian Thoth, assimi- lated to Hermes. Cf. Miiller, Num. de Cane. Afr. ii. p. 34. 50 This coin, which appears to be unique, was recently obtained by me in Eastern Sicily. The same symbol, however, is also found on another variety (B. J/. Cat., Sicily, p. 248, No. 12) behind the head of Persephone. This, like the other piece, is inscribed Ziz, and must probably be assigned to Panormos. 108 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. fig. 4) a swastika is placed in front of her lips. 51 This coin, which bears the inscription Ziz beneath the quadriga on the reverse, must probably be ascribed to Panormos, and the introduction of the swastika links it on to earlier coins of that city, in which the same symbol is placed beside an earlier female head, whether of Nymph or Goddess. At Eryx this crux yammata seems to be associated with the cult of her Aphrodite. The ^, which seems to be the special symbol of Baal-Chamman, also occurs, but it is only found coupled with the head which is crowned with ears of barley 52 in place of the green spray, and which, perhaps, therefore represents Demeter. Of the Carthaginian " Camp coins " with the head of Evsenetos' Kore, some of those presenting a horse's head on the reverse are unquestionably the latest, for they fit on to the tetradrachms bearing the Alexandrine type of the head of Herakles or Melkart. It thus appears that the imitation of Evaenetos' type by the Punic moneyers of Sicily continued till at least as late as 330 B.C. From the Camp pieces struck by the Carthaginians in Sicily for their mercenaries and dependents in the island, Evaenetos' famous type spread in a modified form to Carthage herself. In this case, on some of the Siculo- Punic coins already referred to, and notably the early gold staters with the free horse, the Goddess is represented rather under the aspect of the Mother than of the Daughter, with the ears of ripened corn in place of the green barley spray of spring. (PI. VII., fig. 5.) The type, thus derived, becomes, from the middle of the Fourth Century onwards, the unvarying badge of the 51 It is seen above the hound on the reverse of some small silver coins of Eryx (B. M. Cut. A'n/j-, Nos. 10-12). w E.g. Miiller, op. cit. ii. p. 77, No. 32. CAREER AND INFLUENCE OF EV^ENETOS. 100 Carthaginian coinage in all metals. 53 As compared with the earlier Siculo-Punic copies of Evasnetos' Kore, the style of these coins is hard and mechanical, but some elements in the original design, such as the curving barley-leaf that shoots across the hair, are curiously per- sistent, and the Gaulish tribes, with whom the gold and electrum staters of Carthage must have gained a con- siderable currency, seem to have incorporated this horn- like appendage as a decorative adjunct to more than one of their hybrid coin- types. It is to this source that we may venture to trace the curious ornament that crosses the locks of the composite head on the gold and electrum pieces of Belgic Gaul, and the final degeneration of which may be surveyed on the Ancient British coin-types. 51 The long supremacy of Evaenetos' design at Syracuse itself is shown by its imitation on a whole series of later issues. Not to speak of its appearance on some small copper coins, 55 with Pegasos on the reverse, struck about Timoleon's time, it was revived, in a fine style for the period, on the tetradrachms struck in the earlier 53 See Ludwig Miiller, Xum. de VAfrique Ancienne, vol. ii. p. 84115. 54 The source of this is most clearly seen in some hybrid gold coins found in Picardy (Rev. Num. 1883, PI. J. figs. 1, 2), the reverse types of which, as has been recognized by M. Anatole' de Barthelemy (op. cit. p. 8) are imitated from gold staters of Tarentum. The head is in this case combined in a remarkable way with a prancing horse, more suggestive of the silver types of Carthage. These coins seem to me to supply the missing link between the curious hair ornament of the characteristic Belgic types and the curling barley-leaf of the Carthaginian staters. My Father (Coins of the Ancient Britons, Supplement, p. 424) has not seen his way to adopt this sugges- tion ; it has, however, been approved by Mr. Head (Num. Chron., 1890, p. 331). 55 Head, Coins of Syracuse, p. 31, PI. VI. 110 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. years of Agathokles' reign (PI. VI. fig. 2), in this instance coupled with a reverse type borrowed from Kimon's " medallions." 56 On the later coins of Agathokles it is suc- ceeded by the new and more youthful presentment of the Maiden Goddess, bearing the inscription KOPA behind her head, 57 but, in spite of her flowing tresses, the influence of the older design is still perceptible. Once more, upon the gold staters of Hiketas (287 278 B.C.) Evsenetos' type was again elaborately copied (PI. VI. fig. S), 58 though the ear of barley that here shoots forth from the wreath seems more appropriate to Demeter than to her daughter ; and it appears at Syracuse for the last time on some bronze pieces of Hieron II. (B.C. 275 216). 59 The appearance of a head of Kore, in its essential lines identical with Evssnetos' design, but in a bolder style in harmony with the art traditions of Greece proper, on didrachms of the Opuntian Locrians w (PL VI. figs, 56 Head, Coins of Syracuse, p. 43, PI. VIII. 4. 57 Op. tit., PI. IX. 1, 2. 68 Op. cit., PI. X. 1, 2. 69 Op. tit., PI. xn. 6. 60 Mr. Head (B. M. Cat., Central Greece, p. xv.) says of the coinage of Opus, that " we may rest assured that it is all sub- sequent to the Peace of Antalkidas (B.C. 387)," and he refers the introduction of the types with the head of Persephone to the year 369, in which year Dionysios took part in the Peace Congress that met at Delphi. It is to the same, or the succeed- ing year, which marks the restoration of the Messeniaos, that the issue of the Messenian didrachm with a similar head of Kore must unquestionably be referred (cf. Gardner, B. M. Cat., Peloponnese, p. xliii.). lhat these pieces mark the date of the restoration of the Messenians and the foundation of Messene by Epaminondas may be admitted. On the other hand, the inter- vention of Dionysios in the affairs of the mother-country had been consistently pro-bpartan. It is possible, therefore, that the adoption of Evsenetos' type, to illustrate the old Messenian cult of Persephone on the coins of the newly founded city, may, after all, be a purely artistic tribute. CAREER AND INFLUENCE OF EV^ENETOS. Ill Pheneates 61 (PI. VI. fig. $,, and Messenians 62 fig. 3), is a striking witness to its early popularity. It is to be observed in this connexion that a further numismatic link between these Opuntian dies and those of the Syra- cusan engravers is to be found in the figure of Ajax, which accompanies the reverse of the type in question, and which unmistakeably corresponds with the Leukaspis as he appears on some Syracusan drachmae executed by the earlier master Eumenes 63 and, with some variations, by his pupil, Eukleidas. 64 Evaenetos' head of Persephone is found about the same date on coins of Pherse in Thessaly and Knossos in Crete. In Sicily itself a fine reproduction of it occurs on the large bronze pieces of Kentoripa (PL VI. fig. 4), where the types are overstruck on Syracusan coins representing a head of Pallas. 65 The pard on the reverse of this Ken- toripan coin is also a very beautiful work. On the mainland of Italy the Kore of the Syracusan mas- ter seems to have affected more than one of the beautiful didrachm types of Metapontion ; sometimes with the addi- tion of the ear of corn and the diaphanous Tarentine veil, taking the form of Demeter ; 66 sometimes in her own person as the Daughter, though here with more flowing hair, as 61 B. M. Cat., Pehponnese, PL XXXV. 7; Gardner, Types of Greek Coins, PI. VIII. 41, and p. 155. 62 B. M. Cat., Peloponnese, PL XXI. 1. 63 B. M. Cat., No. 162 ; Head, Coins of Syracuse, PL III. 15 ; Weil, Kunstlerinschriften, &c., Taf. i. 3. 64 B. M. Cat., Nos. 226230; Head, op. cit., PL V. 6. 65 Head, Coins of Syracuse, PL VIII. 1. I have elsewhere (p. 159) pointed out that this type is considerably earlier than Timoleon's time. 66 Carelli, Num. Hal. Vet., T. clii. 69, 70, 73, &c. Cf. Gar- rucci, Le Monete d' Italia Antica, T. ciii. 5. 112 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. on the later Syracusan version cited above. 67 On the Third Century didrachms of Arpi, in Apulia, it is more literally reproduced, 68 though probably from an Agathokleian copy. At Massalia Evsenetos' masterpiece stood as the model for the fine head of Artemis upon its drachms (PI. VI. fig. 8) 69 struck about the middle of the Fourth Century B.C., though here an olive-wreath takes the place of the barley. In a more literal guise it passed to the coin-types of the daughter colony, Rhoda, on the Pyrenaean coast of Spain (PI. VI. fig. 9), 70 and, perhaps through a Siculo- Punic intermediary, to those of the sister colony of Empo- riae (PI. VI. fig. 10). 71 From these Greek plantations of the " Spanish March " the type was received and reproduced by the neighbouring Iberic and Gaulish tribes of Aqui- tania 72 in a series of imitations, each more barbarous than the last, and, passing thence in a half-dissected form 87 Carelli, Num. Ital. Vet., clii. 74, 81, &c. Cf. Garrucci, Le ^lonete d'ltalia Antica, T. ciii. 21, &c. 68 Carelli, op. cit, xc. 1 3; Garrucci, op. cit., xciii. 1. 69 Cf. De la Saussaye, Numismatique de la Gaule Narbon- naise, PI. IL 5457, &c. 70 Heiss, Monnaies Antiques de VEspagne, PI. I., Rhoda, 1 8. 71 Due de Luynes, Rev. Num. 1840, 5 seqq.; Heiss, Monuaies Antiques de VEspagne, PI. I., Emporia, 1 10. 72 Cf. De Saulcy, Rev. Num. iv. 1867, p. 1 seqq.; De.la Saussaye : Monnaies tpigraphiques des Voices Tectosayes (Rev. Num. 1866, p. 389401) ; Maxe-Werly, Rev. Num. 1886, p. 1 seqq. (" Petrocorii," &c.), and Rev. Beige de Num. 1879, p. 248 seqq. (" Trouvaille de Cuzance," &c., " Cadnrci") ; E. Hucher, L 'Art Gauloi-s, Pt. II. p. 81, &c. The evolution of these types in their Northern and Western progress is a curious study, but it cannot here be followed out in detail. I regard the triple crest above the head on so many Armorican coins (by Hucher fantasti- cally connected with Ogmios) as ultimately due to the locks and sprays of the Syracusan Kore, introduced North of the Pyrenees principally by the Rhodan currency. For good intermediate examples compare the coins of the Petrocorii and Yolcae Tec- tosages. CAREER AND INFLUENCE OF EVJENETOS. 113 through Quercy and Perigord to the Limousin, supplied some characteristic elements to the coin-types of the North and West. The curving barley- sprays above the forehead and twined amidst the tresses of our Persephone, the twin fishes in front of her lips, were drawn out into fantastic crests and scrolls upon the coin-types of Armo- rica, and the remote descendants of the dolphins that once sported in the Great Harbour of Syracuse were finally stranded upon the Western shores of our own Island. Upon some late British silver-types 73 of the First Century of our era, the range of which extends from Plymouth to Tewkesbury and Oxford, they may still be traced before a grotesque profile which may well be taken to represent the extreme link of the chain that leads back to the mas- terpiece of Evsenetos, and through him to the beautiful creation of the New Engraver. A more purely artistic tribute to the abiding popularity of Evaenetos' head of Persephone, as she appears on his " medallions," is supplied from a source to which we should otherwise hardly look for numismatic illustration. A reduced copy, namely, of this head of Kore, appears on a series of kylikes, of a thin black-coloured pottery, with a lustrous metallic glaze, belonging to a well-marked class of ceramic ware intended to imitate silver vessels. The fabric of this class of pottery seems to have attained con- siderable dimensions in Sicily and Great Greece in the Third Century B.C. ; 74 the shallow two-handled bowls in 73 J. Evans, Coins of the Ancient Britons, PI. F. 4 8 ; and cf. p. 106. 74 Some are probably earlier. I recently obtained at Catania, for the Ashmolean Museum, an askos or guttus of this ware, with a head, perhaps of Apollo, in a Late Transitional style of art. Even supposing the stamp to have been taken from earlier work, such a Transitional model would hardly have been Q 114 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. which the head of Evaenetos' Persephone forms the central relief, was, however, a specially Campanian fabric, and all the examples known to me, of which the exact find- spot was recorded, were found in the neighbourhood of Capua. The central relief of these kylikes has a. distinct margin, and bears evidence of having been inserted after the cup itself was turned. The impression had therefore been first produced on a separate clay disk. And as no doubt a clay stamp was used like that from the Castellani Collection in the British Museum for a similar purpose, a double shrinkage in the design was the result, produced, first, by the drying of the original stamp, and secondly, by the drying of its impression on the clay disk. In this way the " medallion " reliefs, as seen upon the cups, have lost about a third of their diameter, and give the idea of tetra- drachms, of which no examples with Evsenetos' Kore head are known, rather than of dekadrachms. That the original stamp was actually moulded on Evsenetos' "medallions" there can, however, in spite of this apparent discrepancy in module, be no doubt. Although from the imperfect character of the clay impressions much of the delicate engraving is lost, enough remains to show selected in the Third Century. The prototype of this looks as if it had been a Leontine coin of abnormal module. Un- fortunately, however, no Sicilian coins of such calibre are known to us. Silver kylikes, analogous to those imitated, but without the central medallion, have been found in Pantikapaean tombs of the Fourth Century B.C. A silver bowl, with a beau- tiful medallion relief of a Maenad in the centre, of Hellenistic work, was recently found at Taranto, though, with the ex- ception of the central relief (now in Dr. J. Evans's collection), it crumbled to dust, owing to the thinness of the plate. A silver prototype of the well-known Cales-ware bowls, with chariot-racing scenes, is in the British Museum. Mr. C. Smith regards it as of Campanian fabric of the Third Century B.C. CAREER AND INFLUENCE OF EV^NETOS. 115 that the stamp was taken from the coins themselves, and not from any Third Century copies or reductions. The whole expression of the face, as much as the arrangement of the hair, shows that we have to do, in a doubly re- flected form, it is true, with the actual handiwork of Evsenetos. As a matter of fact an examination of these kylikes has enabled me to detect three variations of the dekadrachm designs of this artist, in some cases, more- over, authenticated by traces of his signature. 75 The varieties used are : 1. The dekadrachm represented on PI. V. fig. 11, with the A in the field beneath the chin of Persephone, the dekadrachm mark being well preserved. On one of these impressions the signature [EJYAINE is clearly visible. 76 2. The dekadrachm, PI. V. fig. 10, without the A but with a cockle-shell behind the head. 77 3. Without symbol or letter (cf., PI. V. fig. 12). On an im- pression of this type traces of the letters EYAI . are visible. 78 75 In the same way the signature of Eukleidas may be traced on the helmet of a three-quarter facing head of Pallas on a paste disk, in the British Museum taken from a mould of his celebrated tetradrachm. This disk was no doubt intended to be attached to the centre, of a glass vessel in the same manner as the clay disks with Evsenetos' design. It may be observed in this connexion that glass imitations of metallic forms are not infrequent. 76 Two examples of kylikes with this "medallion " type are in the Ashmolean Museum, both found at or near Capua. That with the signature was presented by the Rev. Gr. J. Chester, the other is from the Fortnum Collection. 77 One example from Capua is in the Ashm. Mus. ; another, the source of which is not indicated, in the Brit. Mus. ; a third (Campana Collection " S. Italy") in the Louvre; a fourth is in the possession of Messrs. Bollin and Feuardent at Paris. 78 In the British Museum. 116 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. There is besides a class of kylikes with very barbarous imitations of the central medallion. 79 This interesting ceramic class, in which both the form, the central design, and the metallic lustre are imitated from silver work, presupposes the existence of a special class of ancient silver vessels of the kind, with actual medallions of Evaenetos inserted in their central orna- ment ; just as Imperial aurei are seen set round the famous patera of Rennes, or, to take a more modern example, we may see a crown-piece of Charles II. inserted in the middle of a punch-bowl. These Capuan kylikes, in short, represented a cheap popular substitute for what was evidently a famous and highly-prized form of Syra- cusan plate. And in view of this special association of Evsenetos " medallions " with silversmith's work, we are tempted to make the further suggestion that Evaenetos himself also practised the toreutic art. Considering, indeed, the natural combination of the two crafts in ancient and mediasval times, nothing can be more reasonable than to suppose that his apyvpoKoireiov, like those of Antioch, frequented by Antiochos Epiphanes, 80 was in close connexion with a gold or silversmith's shop, and gave employment to toreutce as well as die-sinkers. The gaps in the numis- matic records of Eveenetos' career clearly show that his activity was also occupied in other artistic directions. ' 9 Two examples, both from Capua, are in the Ashm. Mus., another from a different stamp in the Louvre. 80 Athenaos, lib. x. (on the authority of Polybios, Hist. Reliq. lib. xxvi. c. 7, 8). Cf. my Horsemen of Tarentum (London, Quaritch, 1889, p. 120 seqq.\ where I have endeavoured to show that the ancient die-sinkers signed not only as artists, but in their quality of moneyers, and combined besides the kindred crafts of TopevTrjs and x/aucro^oos. The term dpyupoKOTros seems to mean " silversmith" in general as well as " moneyer." CAREER AND INFLUENCE OF EV^ENETOS. 117 That Evoenetos, as seems fairly ascertained in the case of his fellow die-sinker Phrygillos, also exercised the profes- sion of a gem-engraver is made highly probable from the microscopic fineness that characterizes some of his earlier dies. Mr. Head, 81 indeed, remarks of Evsenetos that " his work is characterized by an almost gem-like minuteness, which approaches to hardness." In surveying his designs we are often conscious of a hand somewhat over-familiar with the use of the diamond point. It seems possible, indeed, that an actual example of a gem engraved by this artist has survived to our day. A gold ring containing an exquisitely-engraved sard was recently discovered in the neighbourhood of Catania, and though the ignorant pea- sant who wished to realise the gold- value of the ring, and thought the stone of little value, broke it in two in tearing it from its socket, the intaglio, which has been preserved by a happy accident, has not suffered in any essential par- ticular. The design, of which a phototype is given on PL V. fig. 5, represents Herakles strangling the Nemean lion, and it will be seen to be almost identical in the minutest details with the reverse of Evasnetos' gold hun- dred-litra piece placed next it on the plate. It is true that the same design, executed in an almost identical manner, occurs on the parallel gold staters from the hand of Kimon, but a comparison between the impression of the gem on PI. V., fig. 5, with the reverse of fig. 1, seems to show that the nearest correspondence in style is found with the work of Evacnetos. The only important point in which the design on the gem differs from the coins is, that here the struggling figures rest on a simple line, whereas on the coin-dies 81 Coins of Syracuse, p. 22. 118 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. some indication of rocks, and, in one instance, of an ear of corn, is given below. The style of workmanship on the gem is such as enables us to refer it to the close of the Fifth or the beginning of the Fourth Century B.C. The material, a brilliant sard, is worthy of the best days of Greek gem engraving; and the bold, though somewhat shallow, intaglio quite agrees with this conclusion. The relief on the coin is propor- tionally somewhat higher than that on the impression from the gem, a relative proportion generally maintained in con- temporary works in the two materials belonging to this age. The softer material of the die as compared with the stone seems to have tempted deeper incision; but in other respects the technique is strikingly similar. We see in the gem, as in the die, the same firm, sure incision of a master of the glyptic art ; - and in the design itself, the same unique combination of the utmost delicacy of detail with the full expression of the mighty forces pitted against each other in the struggling group of hero and lion. The correspondence between the design on the signet and that on the coins places this intaglio in a rare, but well-marked class of ancient gems which reproduce civic badges, and which undoubtedly were used by officers of the State to seal public Acts. On the present occasion it is impossible to do more than to call attention to the existence of this special class of gems, which well deserve a separate treatise. It may be sufficient here to notice that several examples of these civic signets are forthcoming engraved with the same official types that reappear on the coinage of Greek cities of Sicily, and of Great Greece. One of the most important of these, recently obtained by me from Sicily, CAREER AND INFLUENCE OF EVJENETOS. 119 represents the protome of the man- faced bull of Gela, its body countermarked by a Corinthian helmet which was evidently a magistrate's symbol ; 82 and a cut scarab in the British Museum displays the legend FEAA ^ above a man-headed bull between a flower and star, with a snake below. 83 Another gem in the British Museum recalls the Nymph and swan of the early coins of Kamarina. At Selinus we have the evidence of the existence of similar signets in some remarkable clay impressions found in Temple C. of the Acropolis. 84 One of the two most numerously reproduced of the seals represented in this deposit exhibits the type of Herakles struggling with the tauriform River-God, which, in an earlier guise, is found upon the didrachms of Selinus, and the civic and official character of the signet gem 1^/j.oaia atypayis was in this case further authenticated by a large ^ in 82 A phototype of this gem is published in Imhoof-Blumer und Otto Keller, Tier- und Pflanzenbilder auf Miinzen und Gemmen (Taf. xxvi. 45) ; with the remark: "Schoner Stil. Wahrscheinlich das Siegel eines griechischen Hitters der besten Zeit." Owing to some misunderstanding of the account sup- plied by me it is here described as from " Tarentum." I obtained it, however, from Sicily, which makes it the more improbable that it was a private seal. From Salona, in Dalmatia, I have a cornelian gem with the Knidian Aphrodite and the legend KOPINOOY, evidently a Corinthian official seal. 83 B. M. Cat. of Gems, 444 ; and cf. Imhoof-Blumer und Keller, op. cit., Taf. xxvi. 47. 84 They have been published by Prof. Salinas in the Notizie degli Scavi (1883, p. 281 seqq., and Tav. vii., xv.), and are pre- served in the Museum of Palermo. Six hundred and forty- three were found in all. The type of Herakles and the bull was reproduced 119 times, often countermarked with other smaller signets. Another official seal, representing a dolphin and club, appears 285 times. It is evident that the seals found in this deposit came from official documents preserved in the Temple archives. 120 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. the field. In Italy the coin-types of Neapolis 85 and Thurii 86 have been preserved on existing intaglios. It is impossible to suppose that any private person could have made use of such well-known civic badges. Such gems were obviously executed solely for official purposes, and it is reasonable to infer that the same artists who executed the dies of the civic coinage were also employed to engrave these civic seals. When, therefore, we find Evsenetos signing the dies associated with this fine design of Hera- kles strangling the lion we have every reason to infer, apart from the singular correspondence of the style and workmanship, that this artist was also the engraver of the signet gem presenting the same official type. The fact that it was found in the neighbourhood of Katane, a scene of Evaenetos' activity as a die-sinker, is certainly not inconsistent with this conclusion. 84 In the British Museum ; and cf. Imhoof-Blumer und Keller, op. cit., Taf. xxvi. 46. 86 A perforated chalcedony gem in a private collection at Buvo, in Apulia, of fine Greek workmanship, presents a most striking resemblance to the bull as it appears on Thurian tetra- drachms of the first half of the Fourth Century, B.C. PART VI. THE HISTORICAL OCCASIONS OF THE D^MARE- TEION AND THE LATER " MEDALLIONS." THE general conclusion derived from various lines of con- verging evidence, to which we have been led in the pre- ceding Sections, that the earliest of the Syracusan " medallions " date back to the years immediately suc- ceeding the approximate date of 415 B.C., leads us to an interesting point in our inquiry. As long as it was believed, as it has been hitherto, that the first issue of these magnificent coins fell within the limits of the Dionysian Period, the precise historic occasion of this exceptional issue might remain in doubt. Signor Cavallari, indeed, has recently put forward the suggestion 1 that the head on Kimon's dekadrachms is that of the Nymph Kyane, and that these coins record the defeat inflicted on the Carthaginians in 394 B.C. by Dionysios in the neighbourhood of her shrine, which had been chosen by him as his headquarters. The mere fact, however, that the " medallions " of Kimon, here specially referred to, were imitated on a series of Motyan types, some of them, at least, struck several years before the overthrow of that city by Diony- sios in 397, is sufficient to exclude a reference to the 1 In his account, published at Palermo, of the recently dis- covered shrine of Kyane. R 122 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. disaster that befell the Carthaginian host before Syracuse three years after that date. And when we are led back by a comparative study of the Syracusan and other types to seek the date of the first issue of these famous pieces, between the approximate dates 415 410 B.C., it becomes impossible not to connect them with the great historical event which marks that very period of years, the final overthrow, namely, of the Athenian invaders in 413 B.C., by sea on the waters of the Great Harbour, and by land in the gorge of the Assinaros. That the crowning victory over the Athenians should have found a record on the Syracusan coin-types, at least in that indirect and allusive manner that was usual in the best days of Greek art, is rendered probable by more than one precedent. The abnormal size and value of these noble " medallions," warrants us in supposing that they were struck on some extraordinary occasion. But this presumption gains additional weight when it is remem- bered that coins of the same exceptional value of fifty silver litras had been struck two generations earlier, on the occasion of another crowning triumph of the Syra- cusan arms the victory, namely, of Gelon in alliance with Theron of Akragas over the Carthaginian Hamilkar at Himera. These coins, which derived their name of Damareteia from Gelon' s consort, require special consideration from their intimate connexion with our present subject, though the inquiry is involved in considerable difficulty from the fact that accounts differ as to their exact source and occasion. 2 2 For the AayunpeVetov, see especially Leake (Trans, of R. Soc. of Lit., 2nd series, 1850, p. 283) and the monograph of F. Hultsch, De Damareteo argenteo Syracusanorum Nuntiiw HISTORICAL OCCASION OF DAMARETEION. 123 According to the later grammarians, Hesychios, 3 and Pollux/ these memorial coins were struck out of the bullion derived from the jewellery which Damareta and other noble ladies of Syracuse had given up to provide the sinews of war at a moment when the treasury was exhausted through the struggle with Carthage. In this case ihe coins themselves, struck from gold jewellery in a moment of emergency, must have been of gold, and both Pollux and Hesychios imply that they were such. This statement, however, contains one radical error of fact, since the coins themselves a few examples of which have come down to us were undoubtedly of silver : indeed, no Syracusan gold coin seems to have been struck till about the time of the Athenian siege. Diodoros, 5 on the (Dresden, 1862). Cf. too his Gr. und rom. Metrologie (2nd ed. Berlin, 1882, p. 433). The fact that the Damareteion must be sought in a silver coin was first pointed out by C. 0. Miiller, Die Ktrusker, i. 397 (and cf. Annali delV Inst. di Con: Arch, 1830, p. 337); and the Due deLuynes, Ann. dell 'Inst , &c. 1830, p. 81 seqq. (Du Demaretion), who first distinguished the true Dt/iiHireteion of Gelon's time from the later Pentekontalitra of the Dionysian Period. Cf. Mommsen, Rom. Munzwesen, 79 (trad. Blacas L, 105) ; F. Lenormant, Rev. Num., 1868, p. 9 seqq. ; Head, Coinage of Syracuse, p. 8. Bockh^Staatshaushaltung der Athener (3rd ed., p. 36), followed earlier writers in regarding the Damareteion as a gold coin. 3 iSa>. Ai7//.apTior. " A^juapcrtov, voyuur^a cv Si/ccAta VTTO FeAwvos KOTTti', e7ri8ov(rr)js Aayuape'rcujv ' TOVTO o' c'x 6 dcica, KXrj6r) oc Trapa rots StKcAttoTat? aTro TOV see Hultsch, op. cit., p. 13, who cites Thucydides (lib. ii., 13, 5), Diodoros himself (lib. ii., c. 9), and the usage of Greek metrological writers. He adds : " Diodorus igitur cum fix 'ArriKas Spa^/ias t'/V \avp(av HISTORICAL OCCASION OF DAJfARETEION. 127 Keos, 13 on the other hand, in the epigram said to have been inscribed on the tripod itself, makes it speak as follows : pa(rv/3ovXov IlalSas Aeii/o/xeveus rov TpiVoS' avOep.fva.1 'E fKaTov \irpav KOL TrevTr/KOvra TaXavrwv Aa/u,apertov }pvcrou, ras Se/caras Se/carav, Bap/3apa viKao-avras ZOvr), TroAAav 8e "EAAacrtj/ However we are to account for the discrepancy of our two informants as to the number of talents devoted to the gold tripod, the most ordinary common-sense must refuse to believe that this splendid offering, celebrated alike by poet and historian, of the Syracusan Strateyos Autokratdr and his brothers, weighed only 48 gold staters. 14 It is possible that Diodoros' 16 talents simply vctous dioAoyous A^/xT/rpos (cat Kdp^s, xpvywv apjvplr)^. A limited issue of the same kind may further account for the fact that of the Akragantine dekadrachms only four specimens are known. 24 Doctrina Numorum, i., p. xviii. ; cf. p. 243. Eckhel is followed by Bockh, Metrologische Untersuchungen, p. 320. a5 De Damareteo, &c., p. 27. 136 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. In the case of these latter coins, moreover, there is an epigraphic feature which may even turn out to stamp them as belonging to the same class of A0AA as the Syracu- san example. This is the appearance immediately behind, and, indeed, almost in contiguity with, the head of the charioteer on the reverse of a large A, 26 the purport of which has hitherto perplexed numismatists. By Yon Sallet, Weil, and others, it has been taken to represent an artist's signature ; but the position in which it occurs, and its solitary prominence in this position, does not by any means correspond to the usual methods and locations of signature amongst contemporary Sicilian engravers. 27 Its very distinct connexion with the charioteer has, indeed, been lately used as an argument by Dr. Kinch 28 in favour of his theory that all the signatures that at this time ap- pear, refer not to the engravers of the dies, but to actual winners in the games. Dr. Kinch has failed to see the one unanswerable objection to his line of argument, namely, that the signature follows the style of engraving, and that whether, for instance, the name of Evaenetos appears at Syracuse, at Kamarina, or at Katane, it is always associated with the same individualities of handiwork. But the 26 See esp. Weil, Kunstlerinschriften, &c., p. 13. All the known examples according to Weil are from the same reverse die. In Salinas' engraving (Le Monete delle Antiche Cittd di Siciha, TaV. viii. 5, 6), the A is not reproduced. 27 All reverse signatures on Sicilian coins are either imme- diately above, upon, or below the exergual line, or in a tablet held by Victory. On the larger coins, with the exception of the doubtful instances of Herakleidas, there do not seem to be any single-letter signatures of artists even in this position. On the obverse the initial letter of Prokles appears in one instance on a Katanaean didrachm. 28 Observations sur les noms attribues aux Graveurs des Mon- naies grecques (Revue Numismatique, 1889, p. 473 scq<].). HISTORICAL OCCASION OF LATER "MEDALLIONS." 137 solitary A on this Akragantine coin belongs, as already remarked, to a different category from such authenticated artists' signatures as those of Evaenetos and his fellows, and there is in this instance this element of truth in Dr. Kinch's suggestion, that the inscribed letter is apparently intended to stand in very close relation to the winner of the chariot race. As a matter of fact, this solitary A ap- pears as a stamp, the significance of which must have had a general acceptation, on a whole series of Sicilian coins struck about this period, but in nowise allied in point of style. Amongst the hundred-litra gold pieces of Syracuse already referred to, 29 , with the head of Arethusa and Herakles strangling the lion, struck contemporaneously with the silver pentekontalitra of Evaenetos and Kimon, and exhibiting in more or less abbreviated forms the names of both artists, the recent find at Avola, near Noto, has brought to light a variety, in which a conspicuous sideways- slanting A is introduced beneath the upright K, that here, no doubt, stands for Kimon's signature. 30 On a drachm of Katania an A appears stamped sideways on the neck of a youthful head, perhaps of the local River-God Amenanos. 31 On two fine tetradrachms of Syracuse, again, belonging to the period which immediately precedes the appearance of recognised artists' signatures, an A is seen stamped in one instance on the upper part of the sakkos-covered head, 32 in the other case on the 29 See p. 93. 30 On other examples, Kl is found. See p. 94. 31 A. Lobbecke, Zeitschr.f. Numismatik, 1887, p. 36, and Taf. iii. 1. The head is there described as Apollo's, but the tcenia in place of laurel-wreath and the style of hair seem better to answer to the local types with the head of Amenanos. 32 Kinch, loc. cit., p. 409. In the Copenhagen Museum. 138 SYRACUSAN " MEDALLIONS " AND THEIR ENGRAVERS. neck of the Nymph or Goddess just below the earring, 83 while on a third coin 34 it is seen on the front of the chariot on the reverse, a position which recalls the contiguity to the Akragantine charioteer. Finally, on some varieties of a late tetradrachm of Selinus a large A appears in incuse upon the base that supports the statue of the bull. 35 It is, perhaps, a fair conjecture that in all these cases the A thus anomalously and conspicuously introduced represents the stamp of consecration for a special religious purpose, and the marked association of it with the charioteer on the Akragantine coin with the chariot on the Syracusan, makes it probable that this purpose was not unconnected with the games. It is even possible, though this is by no means a necessary explanation, that the A here is ex- plained by the fuller legend aeOXov of the Metapontine coin in the signification of prize money. In any case, the number of early Greek types which were originally coined for a definite religious object, and only in a secondary way became part of the ordinary cur- rency, is probably more considerable than has been hitherto supposed. The armour exhibited in the exergual space of our " medallions," consisting of shield, greaves, breast-plate and helmet, makes up together the TravoirXia, or full hop- lite accoutrement, such as in the Greek cities was the recognised prize of military valour. 36 The martial charac- 33 B. M. Cat., Syracuse, 116. I have a fine example in my own collection found near Catania. Kinch interprets this design as showing that the winner, A, consecrates an earring (in the other case a sphendone) to the divinity. 34 B. M. Cat., Syracuse, No. 109. 35 A specimen of this coin is in my own collection. 36 Thus Isokrates says of his father (De Bigis, 29) : " Kat HISTORICAL OCCASION OF LATER " MEDALLIONS." 139 ter of this prize is certainly significant ; there can be no doubt, however, that in the present instance this panoply appears immediately, at least, in an agonistic connexion, and we may thus gather that the contest referred to was of the kind known as aywv aOXocfropos, in which the prizes had a material value. It is, therefore, impossible in this case, as in some other Sicilian coin types, to trace an allusion to the Olympian games, where the wild olive wreath was the only tangible reward. The heroic practice, such as it is recorded for us by Homer 37 in his account of the contests in honour of Patroklos, of offering tripods, cauldrons, and other objects of value, including arms, to the winners, 38 does not seem to have been adhered to at any of the four great Games of Greece. The returning winner was, indeed, often presented, as at Athens, for instance, with pecuniary and other material rewards by his gratified fellow- citizens, but this is another matter ; and on the other hand, in some of the less celebrated con- tests, prizes of value, such as silver cups and bronze vessels, were not infrequently awarded. It would, how- ever, appear that the only recorded festivals at which arms were given as prizes were the Hekatombgea at Argos, in which a shield was presented to the victor in ros apterous, p-fra TOVTWV cny3aTevcra/x.evos TOIOVTOC iv TOIS KivSwoi? wore (TTt^iAopaKoi'(rcus dcrTriSa Trpos upui BeiKW(r6cu, Ntiaov ptv Xeyo/^evrjv, yjtvarov Se KOI 7ropavepu>s tuXwKoras d#poicraiTes TO. fj.fv KaXXicrra KOL /jLiyifrTa SeVSpa raJy irfpi TOV irora^iov a.vtbf)cra.v HISTORICAL OCCASION OF LATER " MEDALLIONS." 143 Games. And so too, in the case of the revived issue of the pentekontalitra, though the prize arms and chariot on the reverse may, as suggested, connect themselves with the River-God in whose honour the New Games were instituted after the Athenian overthrow beside his waters, the obverse types still commemorate the archaic cult of the Goddess of the Nether World and the Nymph whose miraculous fountain welled forth in the island citadel of Syracuse. The association of Arethusa, who had watched the destruction of the Athenian fleet, is certainly appro- priate, nor less so the tribute to Persephone on the "medallion" types of the New Artist and Evaenetos. As a Chthonic Goddess, the consort of Aidoneus, the daughter of Demeter Erinnys, whose shrine with that of her Mother had looked down on some of the most stirring scenes of that long struggle, she had certainly some claim to share the spoils and honours of the crowning victory. The Assinarian Games, as we further learn from Plu- tarch, 46 were first celebrated in September, 412, on the first anniversary of the victory, and it is to this date that the first distribution of these noble pieces must in all probability be referred. 46 Plutarch, Nik. xxviii., " -rj^ipa 8' ?jv Tcrpas 00iWros TOV Kapvetoi; /r^vos, ov 'AOmtUOt Merayem/iaiva Trpocrayopevov(ri." Mr. Freeman, following Holm, fixes the day as September 18, 412. The engraving of the dies may have been put in hand shortly after the victory itself, in the autumn, namely, of 418 B.C. PAST VII. CHRONOLOGICAL CONCLUSIONS BEARING ON THE SYEACUSAN COINAGE. THE chronological results arrived at in the foregoing Sections, not only with regard to the first issue of the Syracusan "medallions" but to that of a large number of related pieces of other denominations, show that the hitherto accepted views as to the date of the Syracusan coin-types of the last decades of the Fifth and the first half of the Fourth Century B.C. need considerable revision. It has been shown that the early tetradrachm type of Evaenetos dates back in all probability to about 425 B.C., and that the still earlier signed work of Eumenes with the signature EVMH NO\f, and of Sosion, must therefore be thrown back some ten or fifteen years earlier than this. It has been further shown that what may be called . the "Period of the Coiled Earring " comes to a close about the date of the Athenian siege, and that the works of the later group of engravers, Eukleidas, Euth . . ., Phrygillos and Evarchidas, as well as all those executed in Evsenetos' earlier " manner," belong in the main to the Period 425413 B.C. With the Athenian overthrow of 413 and the newly instituted Games begins the revived issue of the silver pentekontalitra, Kimon's earlier types taking precedence. In close relation to the head of Arethusa as she appears CHRONOLOGICAL CONCLUSIONS. 145 on Kimon's early " Medallions " stand the tetradrachm types signed by Parme . . . (PI. I. Fig. 6), together with some allied pieces (PI. I. Fig. 7) 1 , and though the forms of earrings point to a somewhat later date there seems no sufficient reason for bringing down the issue of these types more than a decade beyond that of the first " medallions." On the other hand Kimon's tetradrachms with the profile head of the Nymph in every way cor- respond with his second dekadrachm type 2 struck about 410 B.C., while there is conclusive evidence that his facing head of Arethusa had already appeared before the close of B.C. 409, when it was copied at Himera. The parallelism with this latter coin both in style and design presented by Eukleidas' tetradrachm with the facing head of Pallas, 3 tends, as we have seen, to show that this coin was issued at least as early as Kimon's masterpiece. This chronological equation is corrobo- rated, moreover, as already noticed, by the fact that an example of Eukleidas' coin occurred in the great Naxos hoard deposited, as I hope to show, 4 at the latest by 410 B.C. This conclusion further enables us to establish the appro- ximate date of two other important types for which the same reverse die was used as that which accompanies Eukleidas' facing head of Pallas. One of these is the tetradrachm exhibiting on the obverse the exquisite design of the Kore with the ear of barley shooting up above her forehead and her long tresses falling about her neck, 5 and it is to be observed that the earrin that she wears is of 1 See p. 58. 2 See p. 57. 3 Head, op. cit., PI. IV., 10. Cf. p. 72. 4 See Appendix B. 5 Head, Coins <>f Xyracmr, PI. V., 4. 146 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. the old-fashioned coiled type. The other coin 6 associated with this Eukleidian die, an example of which occurred in the Santa Maria hoard, also shows a very beautiful female head, the full artistic significance of which seems hitherto to have escaped notice and may therefore call for a few words. A representation of this type from a speci- men in the British Museum is given below, Fig. 10. The features, for purity of outline, are unsurpassed in the Syracusan series. The hair is bound up into a kind of top-knot behind resembling that of the flying Nike on the reverse of one of Evaenetos' " medallions " (PI. V. fig. Fig. 10. STRACUSAN TETRADKACHM, WITH HEAD OF NIK. 10), and otherwise akin to some earlier Syracusan types of the late Transitional Period. 7 The earring is of a remark- able form, and as such marks the period of varied fashions in the use of this ornament which intervened between that characterized by the fixed use of the coil-earring and that of the triple pendant. It will be seen, that as this coin has been hitherto represented, 8 the earring slopes forwards in a curious way as if in defiance of the laws of gravity. But in truth the earring is as it were the needle of the compass which gives the true bearing of the whole design. 6 Op. cit., PI. V., 5. ' Head, op. cit., PI. II., figs. 12, 13. 8 Castelli, Sic. Vet. Num.; Auct. i., Tab. vii., 3; Head, Coins of Syracuse, PI. V., 5. CHRONOLOGICAL CONCLUSIONS. 147 It is the head and not the pendent ornament that is intended to bend forward, and this head with the waving top-knot like that of the Victory on the " medallion," is the head of a flying Nike. 9 The earring in fact enables us to supply the wings. One other tetradrachm type of the same period seems to call for special mention. This is the fine coin present- ing on the obverse a female head with somewhat flowing hair associated with the signature |M. From its remark- able style and from the device of the lion tearing down the bull on the exergue of the reverse, so strongly sug- gestive of the coin-types of Akanthos and Asia, this piece has been by Mr. Poole 10 attributed to an Ionian artist. The full rounded form of the chin as here shown is strongly suggestive of the Arethusa on Kimon's earliest dekadrachm type, and the flowing tresses have a certain affinity with those of the Kore as designed by the New Artist. There can, in any case, be little doubt as to the pre-Dionysian da' e of this type. The earring seems to be of the earlier coiled form. The inscription is retrograde and shows the early N, and the quadriga scheme connects this tetradrachm with a more or less contemporary group of coins, including those by Kimon and Eukleidas with 9 This throws a retrospective light on the similar heads of the Transitional Period, and another of a date more nearly approaching the present example, though in these cases the head is not bowed forwards. The Winged Nike appears with a similar top-knot on coins of Teriua. 10 Num. Chron., 1864, p. 247 ("On Greek Coins as Illus- trating Greek Art "). Mr. Head (Coins of Syracuse, p. 22) remarks on this type : " Whether the peculiar style of this piece, so different from the other tetradrachms of Syracuse, is due to its being the work of a native of Greece proper or Asia Minor, or only to its being ten or twenty years later, it is impossible to say." 148 SYRACUSAX "MEDALLIONS" AND THEIR ENGRAVERS. the facing heads of Arethusa and Pallas, some of which are certainly anterior to 409 B.C. 11 It will be seen that, according to this classification, all the Syracusan tetradrachms belonging to the period of the signed coinage fall into one or other of the above groups. In other words they are all anterior to the beginning of the Fourth Century within the limits of which the bulk of them have been hitherto included. As already pointed out, the presence of the later letters fl and H on many of these coins cannot be regarded as an argument against their comparatively early date, for we find the new letters already on the earliest work of Sosion and Eumenes, which on general grounds may be referred to the approxi- mate date 440 B.C., about which time the H also makes its appearance at Thurii and Kaulonia in Italy. At Tarentum, indeed, it is found at least as early as 450 B.C. On the other hand, speaking generally, the whole of the signed tetradrachms of Syracuse and the other pieces contemporary with them still belong to what may be called the period of transitional epigraphy. On a gold hundred-litra piece of Kimon, struck about the same time as his tetradrachms, the form ^YPAKO^ION is still found, and Phrygillos, Euth . . ., Evarchidas, Eukleidas, and Evaenetos, on his early dies, still associated their sig- natures with coins that display transitional traits in the orthography of the civic legend. The approximate chronological results as regards the Syracusan coinage arrived at in the course of the present study may be tabulated as follows : 11 An obverse by IM ... is found on a drachm (B. M. Cat , Syracuse, 233), associated with a reverse signed by Kimon. CHRONOLOGICAL CONCLUSIONS. 149 B.C. Early signed tetrad rachms by Sosion and Eumcnes [" EVMHWOV "] . . . . c. 440 [12 and H employed in signatures : new letter- forms used with uncertain forced] Later coins of Eumenes [" EYMEIMOY "J . c. 430415 Early tetradrachm of Evwnetos [EYAINETO on tablet] ... . . . . . c. 425 Other types in JEvcenetos' " early manner "; coins by Euth . . . , Phrygillos, Evar- chidas, Eukleidas, etc., and other contem- porary pieces with coiled earrings and transitional epigraphy . . . . c. 425 413 FINAL DEFEAT OF THE ATHENIANS AND IN- STITUTION OF TH E ' 'ASSINARIAN GAMES" . 413 ASSINARIAN GAMES FIRST CELEBRATED, SEPT. 13 . 412 REISSUE OF SILVER PENTEKONTALITRA. [Variant forms of earring come into use about this epoch.] Kimdn's " Medallion " Type I. . . . .412 Kimon's " Medallion " Type II., and similar tetradrachm c. 410 "CARTHAGINIAN" COINAGE AT MOTYA AND PANORMOS. KIMON'S " MEDALLION " TYPES I. AND II. IMITATED . . c. 410 408 Kimon's tetradrachm with facing head of Arethusa ....... c. 409 [Imitated at Himera, destroyed at close of B.C. 409.] Tetradrachm types by Parme . . . , Im . . , etc. c. 413 405 SYRACUSAN GOLD HUNDRED- AND FIFTY- LITRA PIECES FIRST ISSUED . . . . c. 408 FIRST ISSUE OF CARTHAGINIAN CAMP PIECES WITH HORSE AND HALF HORSE IMITATED FROM GOLD COINS OF SYRACUSE AND GELA c. 406 405 TYRANNY OF DIONYSIOS I. BEGINS 406 150 SYRACUSAN " MEDALLIONS ". AND THEIR ENGRAVERS. B.C. Kimon's "Medallion " Type III. A. . .\ " Medallion " by New Artist . . . . c. 406 Ec&netos* " Medallions " first issued . . } [TETRADRACHM ISSUES CEASE ABOUT THIS TIME] Kimon's "Medallion" Type III. B. first issued . . . . . . . c. 403 CARTHAGINIAN SIEGE OF SYRACUSE : TEMPLES OF DEMETER AND PERSEPHONE PLUN- DERED ........ 395 PROPITIATORY CULT OF "THE GODDESSES" INSTITUTED AT CARTHAGE . . . C. 393 Carthaginian tetradrachms copied from Etametos' " Medallions," first struck in Sicily some time after this date. Evsenetos' latest " Medallion " Type [signa- ture EYAINETOY] executed . . . c. 385 Evsenetos' head of Persephone imitated on coins of Messene, etc. ..... 369 Issue of "medallions" continued from old dies c. 385360 The conclusion to which we have thus been led, that all the tetradrachm types struck at Syracuse during the finest period of art belong to a date anterior to 400 B.C., will appear to some revolutionary. And undoubtedly it raises great difficulties. But on the other hand, the present system of chronology, as applied to these Syracusan coin- types, raises questions which it seems even more difficult to answer. How, it may well be asked, if the majority of these tetradrachm types belong to the Dionysian Period, does it happen that tetradrachms in Evaenetos' later style, as exhibited by his " medallions," are absolutely unknown ? CHRONOLOGICAL CONCLUSIONS. 151 How is it, moreover, that whereas tetradrachms of Kimon, reproducing the earlier " medallion" head, Type II., struck from about 410 B.C., are known, his commoner deka- drachms, Type III., which were first abundantly struck in the last two or three years of the Fifth Century find no counterpart amongst his tetradrachms ? According to the view put forward in the present monograph, the answer to these questions is as short as it is simple. The later " medallion " types of Kimon and those of Evcenetos were not reproduced on tetradrachms, because by the date at which they were struck, or at least very shortly after their first appearance, the coinage of tetradrachms at Syracuse had altogether ceased. It is agreed on all hands that the " medallions" of Evsenetos and the later dekadrachm types of Kimon belong to the Dionysian Period. But these coins present a more advanced style than the signed tetradrachms of Syracuse, and show no traces of transitional epigraphy. They belong to a time when the new letter-forms had finally taken root. How comes it then, it may fairly be asked of those who bring down the tetradrachms to the same period, that both the style and epigraphy are earlier ? On the other hand, the composition of all large hoards of coins deposited in Sicily about this epoch goes far to explain the break which at this time occurs in the tetradrachm issues of Syracuse. From these finds, and the recent discovery at Santa Maria di Licodia is no exception to the rule, it appears that the silver currency of the Sicilian cities was at this time supplied more and more by imported Pegasi of Corinth and her Adriatic colonies. In the recent West Sicilian hoard described under Appendix A, the deposit of which seems to have taken 152 SYRACUSAN "MEDALLIONS*' AND THEIR ENGRAVERS. place about 400 B.C., the early didrachms of Leukas were numerously represented. In the great Naxos hoard, buried in all probability about 410 B.C., 12 these Pegasi already occurred in considerable abundance. Add to these a copious supply of Athenian tetradrachms of early style, and, later, the abundant Siculo-Punic coinage, and it will be seen that, without drawing on native Hellenic sources, there was no dearth of silver currency at this time in Sicily. At Syracuse itself the use of the imported silver staters of the mother-city and the sister colonies was quite consistent with local self-respect, and the issue of the splendid pentekontalitra of Kimon and Evsonetos might be regarded as a sufficient assertion of the superiority of the city " of great cities" itself. On the other hand, it is extremely probable that the apparently abrupt cessation of the tetradrachm issues at Syracuse shortly after the commencement of the Dionysian dictatorship, was due to some financial coup of that tyrant. Of the expedients to which Dionysios resorted for filling his own coffers we have more than one example. On one occa- sion, having levied a forced loan of all the available silver in the citizens' possession, he countermarked the coins in such a way as to double their legal value, and repaid his debts in these newly stamped coins, every drachm of silver thus standing for two. 13 Aristotle, to whom this account 12 See Appendix B. 13 Aristotle, Oeconomica II. xx. " Aaveicra/xei/os re Trapa ran/ ^pry/Aara CTT' aTroSocm, a>s a.irr)Tow avrbv, eKeAeixrev dra06pe(.v ocrov e^ei TIS apyvpiov Trpos avrov ' ct oe p.-q, QO.VO.TOV trafe TO eirm'/uov. ' Avfe^OevTOy Leontini was very different. It was at this time the rallying point of the tyrant instead of the deliverer. It was not indeed till 340 B.C. that Timoleon was able to make himself master of the city and drive out Hiketas. Leontini, unlike nearly all the other Sicilian cities, so far from being restored to independence was incorporated in the Syracusan territory and its inhabitants transplanted to Syracuse. 27 These alliance pieces with the Corinthian type cannot certainly be referred to Timoleon's time. It seems to me that the archaic form taken by the inscription on these parallel pieces, which conflicts with 25 Diod., lib. xvi., c. 16. 26 Diod., lib. xvi., c. 17. 27 Diod., lib. xvi., 82; Plutarch, Timoleon, 32. Cf. E. H. Bunbury, Smith's Diet. ofGeogr., s.v. Leontini. 158 SYRACTJSAN "MEDALLIONS*' AND THEIR ENGRAVERS. their decidedly later style, finds its most rational explana- tion in the gap which, as has been shown, existed to the Syracusan coinage. Had the Syracusan tetradrachms been struck during the Dionysian period, the later epigraphy, such as we find it on the "medallions," would by this time have taken such firm root at Syracuse, that to revive the earlier O for fl in the civic legend must have savoured of pedantry. But such, as we have seen, was not the case. The native silver coins of this denomination on which the Syracusans, and for that matter the Sikeliote Greeks in general, still drew, so far as their needs were not supplied by the imported currency or by the great pentekontalitra, Figs. 11 and 12. "Pegasi" struck by Leontini and Syracuse in alliance, 357 B.C. had none of them been issued in the immediately preceding period. The date of their issue went back per saltum over a generation to a time when the newer letter forms had not yet finally taken root. Among the Syracusan and Sicilian tetradrachms such as we find them in hoards of coins dating from the Dionysian period the coins with the older form of epigraphy are still in the majority. Hence, from the point of view of the die-sinker and money er, who simply reproduced the most frequent form of the civic inscription as he found it on the current coins of Syracuse still in use in this day, nothing was more natural than to write it in the older form $ YPAKO 3 ION. To the same period as these early " Pegasi " must CHRONOLOGICAL CONCLUSIONS. 159 unquestionably be referred the large bronze pieces of Syracuse, presenting a head of Pallas in an olive- wreathed helmet on their obverse and the two dolphins and " webbed" star on the reverse, 28 as well as the smaller bronze pieces, in which the head of the same Goddess is associated with a sea-horse. That these coins belong to an earlier date than Timoleon's time may be further inferred from the extremely fine copy of Evsenetos' head of Persephone with which the larger of the two coins 29 was over-struck at Kentoripa (PI. YI. fig. 4), 30 and which from the character of the art displayed it is difficult to bring down later than to the middle of the Fourth Century B.C. 28 Head, Coins of Syracuse, PI. VII., 1, and p. 80. It is there referred to Timoleon's time. 29 Op. tit., PL VII., 2, and p. 30. 30 The coin from which the prototype on PI. VI., fig. 4, was taken, was obtained by me at Centorbi itself. The helmet of the original Pallas is clearly visible on it. I am unable to agree with Mr. Head (Coins of Syracuse, p. 36) that the Kore as she appears on these coins bears the stamp of the Agathok- leian Period. APPENDIX A. ON A HOARD OF COINS RECENTLY DISCOVERED IN WESTERN SICILY. THE remarkable hoard recently found in Western Sicily (ac- cording to my own information at a place called Contessa), and described by Professor Salinas in the Notizie degli Scavi for 1888, 1 has such an important bearing on our present subject as to demand some special notice, the more so as nothing more than brief references to it have appeared in any numismatic publication. The hoard itself may be summarised as follows : Athens. 1. Tetradrachms of fine archaic style . ... 2 Leukas. 2. Several Pegasi belonging to the earliest class of Leukadian Pegasi . . . . . x Rhegion Tetra drachm s . 3. Obv. Seated Demos and insc. ON 1 33 51 . Rev. Lion's scalp .1 4. Obv. In later style with head of Apollo to r., resembling those signed by Kratisippos ; in front PHPINON ; behind two leaves and berry. Rev. Do. 1 1 Ripostiglio Siciliano di Monete Antiche di Argento. Thanks to the courtesy of Prof. Salinas, I had an opportunity of inspecting these coins when at Palermo. WEST SICILIAN HOARD. 161 A kragas. 5. Archaic tetradrachm, worn . . . . .1 6. Tetradrachm of fine style, with obv. two eagles de- vouring hare. Rev. Skylla beneath crab ; Insc., AKPAFANTI- NON. (Fine condition) .... 1 2 Kamarina. Tetradrachm. 7. Obv. Bearded head of Herakles. Insc., Rev. Victorious quadriga galloping. (Style of EumentSs.) Swan below. (Somewhat worn) 1 Katane. Tetradrachm. 8. Obv. Head of Apollo. Transitional style. KATA- NAION. Rev. Slow quadriga. Two vars. (One in good con- dition, one rather worn) . . 2 9. Obv. Head, less archaic, KATANAION. Rev. Victory above slow quadriga . . .1 3 Eryx. Tetradrachms. 10. Obv. Seated Aphrodite holding dove, and Eros ; EPYKINON. Rev. Victorious quadriga (fast). In fresh condition 4 Gela. 11. Transitional tetradrachms. Insc., CEAA^ and 8 Later tetradrachm 12. Obv. Insc. CEAAS.' Rev. Fast quadriga crowned by Nike. The head of the charioteer turned back . . . 1 (All 9 tetradrachms of Gela were " anterior to the period of developed art," and somewhat worn.) 9 162 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. Himera. Tetr adr achm . 18. Obv. Nymph sacrificing at altar, and Seilenos bath- ing at fountain. (Fine style.) Rev. IMEPAION; slow quadriga crowned by Nike. (In fine condition) .... 1 Leontini. Tetradrachms. 14. Obv. Head of Apollo. Rev. Lion's head and four grains of corn. Insc., /^EON'TIN'ON', MOMITMOB'V and AEONTINON. (Worn) . 3 Messana . Tetradrachms . 15. Obv. Hare to r., spray below MESS NOINA with seated driver. Rev. Biga of mules walking ; leaf below . . 1 16. Similar, without spray on obv. ..... 1 17. Do. insc. ME* 3ANOIN 2 18. Do. obv. insc. ME^ ^ANION ; beneath hare a dolphin. Rev. Driver standing, Nike above ; in ex. leaf and berry ....... 3 19. Do. Nike stands on reins . . . . 2 20. Do. Nike reaches fillet to mules ; in ex. two dolphins 2 21. Do. fly beneath hare. Rev. Leaf and berry in ex. . . . . .1 22. Do. ear of corn beneath hare. Rev. Female charioteer ; above ME^ ^ANA; in ex. two fishes . . ' . . .1 23. Do. cicala beneath hare NOINA* 3M Rev. Same ........ 1 24. Do. dolphin beneath hare (N)OINA * * 3M. Rev. Same. Inec. A . . . 3M round . . 1 WEST SICILIAN HOARD. 163 25. Do. eagle seizing serpent beneath hare. Above to r. in small letters ME ^ ^ ANIflN. Rev. Biga of mules walking. Nike holds out a ca- duceus in r. hand, and with 1. offers the charioteer a wreath. In ex. dolphin. On exergual line the signature KIMflN is clearly visible. 2 (Brilliant condition) . . .1 Mo tya . Tetr adrachms . 26. Obv. Eagle with closed wings ; r. above insc. *1V^& (HaMotua). Rev. Crab, fish beneath in concave field . . .1 27. Do., but without fish on reverse .... 1 [These coins are copied from those of Akragas ; but the fish on the reverse shows the influence of a somewhat later Akragantine coin than that from which the obverse is taken. It is found coupled with the crab on an Akragantine tetradrachm, presenting on the obverse an eagle tearing a hare (B. M. Cat., Agrigentum, No. 59), of the finest period of art. This fact has an important bear- ing on the chronology of these Motyan types]. 28. Obv. Female head in net to r., copied from the Arethusa of Kimon's later " medallion," type II. ; insc. *t\\V\ Rev. Grab 1 29. Obv. Female head in net to 1. (inferior copy of pre- ceding), but with three dolphins round. Rev. Crab 8 (On these coins see pp. 67, 68). 6 Segesta. Tetradrachm. 80. Obv. Naked male figure to r. before term : two dogs at his feet. Rev. Persephone in galloping quadriga crowned by Nike. In ex. cicala and insc. ZELE(^) TAX I A . ... .1 2 This fact is not noted in Signer Salinas' description. I ascertained it by a personal inspection of the coin. 164 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. Selinus. Tetradrachm . 81. Obv. Naked River-God sacrificing before altar and holding branch. Before altar a cock ; in field celery-leaf, ^EAINONTION. Rev. Apollo and Artemis in slow quadriga, wreath above ; below, fish . . . . .1 Syracuse. Tetradrachms. Archaic types with legend YRAKO 3 IO/V. 32. Obv. Female head bound with diadem. 4 vars . 4 33. Obv. Female head with hair hanging down. Same inscr., four dolphins bound . ... 1 34. Obv. Female head in less archaic style, hair bound with diadem. Same inscr. &c. . . .1 85. Obv. Similar, but hippocamp in ex. of rev. . . 1 36. Obv. Female head in sakkos. Same inscr. . . 1 87. Obv. Female head with hair bound by a broad band. 38. Obv. Female head with spiral earring and hair bound tiitulus fashion. Same inscr. &c. . . 39. Obv. Do. with hair bound up on top of head, same legend. Galloping quadriga. In ex. hippo- camp ....... 40. Obv. Do. diademed to 1. 3YPAKO3ION. Same rev. but two fishes in ex. . . . 41. Obv. Do. with spiral earring to 1. ; hair bound with sphendone, the front adorned with star ; be- neath, signature EYMENOY. Rev. Galloping quadriga drawn by nude winged figure. In ex. Skylla and signature EYO . 42. Obv. Do. hair flying up. Type of Eukleiclas. Rev. Galloping quadriga, &c. ; in ex. dolphin . . 43. Obv. Do. with opisthosphendone . . . on ampyx (Phrygillos.) Inscr. SYPAKOSION. ' WEST SICILIAN HOARD. 165 Rev. Nike above fast quadriga, holding wreath and aplustre. In ex. ear of barley and signature EYAPXIAA. (Figured in Num. Chron., 1890, p. 801) . .1 44. Obv. Do. in opisthosphendone bound in front with a fillet (fiocco). She wears a circular earring with various pendants ("ha un orecchino a cerchio e vari pendenti"), and a necklace with a small globe. Rev. Female driver, in galloping quadriga, crowned above by Nike. In ex. ear of corn . . 1 45. Obv. Do. with spiral earring and opisthosphendone to 1. Rev. Galloping quadriga, &c. In ex. ear of corn . 1 46. Obv. Do. in starred opisthosphendone with earring of three drops, to 1. Inscr. [ ^ YPAKO] $ IftN . Rev. Galloping quadriga, &c. In ex. ear of corn . 2 47. Dekadrachm of Kimon. Head of Arethusa in the net in high relief. Type II. (Slightly worn.) . 1 48. Dekadrachm of Evsenetos. Head of Persephone, &c. No symbol. The lower part of the coin where the signature EYAINE probably stood is wanting. Rev. Quadriga, &c. Horses in fairly high action . 1 (Brilliant condition.) 49. Do. Beneath chin A. Under lowermost dolphin EYAINE. Rev. As preceding. AOAA visible beneath panoply in ex. (Brilliant condition.) . . .2 26 Siculo-Punic. 50. Obv. Forepart of bridled horse r., crowned by Vic- tory ; grain of barley in front. Rev. Date palm and inscr. H^H^Hf 1 *^- Kart- Chadasat 2 51. Obv. Same. Traces of inscr. beneath horse. Rtv. Same, but no inscr. . . . . .1 166 SYRACUSAN "MEDALLIONS" AND THEIR ENGRAVERS. 52. Obv. Same inscr. Kart-Chadasat beneath horse. Rev. Same inscr. *f\^^ (Machanat.) . . 2 53. Obv. Forepart of horse without bridle r., Victory above placing wreath on its head ; grain of barley in front. Rev. Same, inscr. Kart-Chadasat .... 1 54. Obv. Same, but to 1. Rev. Same, inscr. Kart-Chadasat . ... 1 55. Obv. Same ; two pedestalled cups beneath horse interrupting the inscr. Kart Chadasat. Rev. Same, inscr. Machanat . . . . .2 56. Obv. Same. Rev. Same, inscr. Kart-Chadasat .... 1 57. Obv. Free horse galloping r., crowned above by Vic- tory. Rev. Date palm ....... 4 58. Obv. Female head with hair flying up and opitfho- sphendone, copied from Syracusan type of Eukleidas (cf. No. 42) (Salinas reads K . . . . on the ampyx, and P"*^ = Ziz, in front of head.) Rev. Galloping quadriga. In ex. mseander . . 1 59. Obv. Female head in net, copied from Kimon's early "medallion," type II. Rev. Galloping quadriga, &c. In ex. hippocamp, and inscr. ft**!** ...... 2 60. Obv. Female head in net, copied from Kimon's later " medallion," type II. Rev. Same ........ 1 61. Obv. Female head to 1., with diadem, on front of which is a Swastika. Rev. Same ........ 5 62. Obv. Same, higher relief. Rev. Same . . 1 24 WEST SICILIAN HOARD. 167 (The Siculo-Punic coins were all in a fine state of preserva- tion.) ANALYSIS OF HOARD. Athens 2 Leukas 1 (Several others not described) Rhegion 2 Akragas 2 Kamarina .... 1 Katane* 3 Gela 9 Eryx 4 Brought forward ... 24 Himera 1 Leontini 8 Messana 15 Motya 6 Segesta 1 Selinus 1 Syracuse .... 26 Siculo-Punic . 24 24 101 . Professor Salinas, 3 noting that the later of the two tetra- drachms of Rhegion found, though in brilliant condition, only weighs 15*22 grammes instead of the normal weight of some- what over 17 grammes, attempts to explain this deficiency by a financial expedient recorded of Dionysios. Aristotle, 4 after relating the shameful behaviour of Dionysios to the Rhegians, whom he first plundered and then despite his promises sold into slavery, proceeds in the following paragraph to relate how he cheated " the citizens " by levying a forced loan on them and repaying it in money stamped in such a way that every drachm had a fictitious value attached to it of two drachms. This passage Garrucci, 6 Sambon, 6 and after them Salinas, apply to the Rhegians, but as shown above 7 the TroAmu referred to are Dionysios' own citizens, the Syracusans. The Rhegians had been already treated in a much more drastic fashion. The transaction mentioned by Aristotle could not indeed in any case be taken to explain the comparatively slight deficiency of weight in the present tetradrachm. Dionysios' fraud was of a much more wholesale character, and brought him in 100 per cent, profit, not merely 12 per cent., as in this instance. The words of Aristotle, moreover, do not at all imply that Dionysios went through the expensive and tedious process of issuing a new 3 Op. cit., pp. 10, 11. * Oeconomica, II. xx. 5 Le Monete dell' Italia Antica, p. 162. 6 Recherches sur les Anciennes Monnaies de I'ltalie Meridionalt, pp. 215, 221. 7 See p. 153. 168 SYRACUSAN "MEDALLIONS 5 ' AND THEIR ENGRAVERS. coinage, but rather that he countermarked 8 in a certain way the existing coins. The tetradrachm itself, which still displays the earlier orthography PHFINON, is by no means the latest of the Rhegian series, 9 and should on grounds of style be re- ferred to a date many years earlier than Dionysios' capture of the city. The solitary argument adduced for bringing down the date of the deposit of this hoard to after 387 B.C., the date of the cap- ture of Rhegion, will riot bear the test of examination. It is, indeed, in the highest degree improbable that any tetradrachms at all were struck at Rhegion so late as the above date. However this light-weight Rhegian coin is to be explained, it is evident from a general survey of the contents of the hoard that it was withdrawn from circulation at a considerably earlier date. Amongst 66 Sicilian Greek coins found in this deposit, in- cluding specimens from Akragas, Kamarina, Katane, Gela, Eryx, Himera, Leontini, Messana, Segesta, Selinus, and Syra- cuse, fl appeared only on a single coin (out of 15) of Messana, and on two tetradrachms and four dekadrachms of Syracuse. The coin of Messana on which it appears is the remarkable piece bearing Kimon's signature on the exergual line of the reverse, and the design of the biga of mules here executed by this artist seems to me to be distinctly earlier in style than that which appears on his earliest dekadrachms. This coin is there- fore in all probability not later than about 413 B.C. The three " medallions " of Evaenetos found belong to his earlier works of this class. Among the coins found of Akragas, Gela, Kamarina, Katane, Himera, and Selinus, in no case were the latest types of these cities represented. Making every allowance for the comparative rarity of the later issues belonging to the troubled period of Sicilian history that begins with the Carthaginian invasion of 409, as also for the fact that this hoard was found in the Western and Punic or Elymian part of the Island, it seems impossible, in view of this conspicuous deficiency in the latest types of so many cities, to bring down the date of this deposit much later, say, than the overthrow of Akragas and Gela in 406 5 B.C. Among the latest coins found in the hoard are, as might be expected, the brilliantly preserved Siculo-Punic series, with the 9 Cf., for instance, the type published by Dr. Imhoof-Blumer, Monnaies Grecques, PI. A, 9. WEST SICILIAN HOARD. 169 legends Kart-Chadasat and Machanat, representing the first issues of the Carthaginian " camp money," struck about 406 405 B.C. To these must be added the equally well-preserved coins of Motya with Phoenician legends, and those inscribed Ziz, which must in all probability be referred to the Panor- mitis. The imitations of both the first and second types of Kimon's dekadrachms which appear on these latter, show that the deposit must have taken place some few years at least after the earlier issues of the Syracusan " medallions " by this artist. The brilliant condition of all the Siculo-Punic coins discovered forbids us, however, to believe that any of them had been long in circulation at the time when this hoard was deposited. On the other hand, the noteworthy absence of that numerous class of Siculo-Punic coins presenting copies of the head of Kore on the " medallions " of Evaenetos, makes it improbable that the hoard was deposited after 393 B.C., about which date the Carthaginian coins rendering artistic homage to the Per- sephone of Syracuse were in all probability first issued. Taking one indication with another, we may regard 400 B.C. as approximately the latest date at which this West Sicilian hoard could have been withdrawn from circulation. APPENDIX B. ON THE DATE OF THE GREAT NAXOS DEPOSIT. IT has been assumed by Padre Giuseppe Romano (Sopra alcune Monete scoverte in Sicilia, Paris, 1862), and by Professor Salinas (Xotizie degli Scari, 1888, p. 802), that the great hoard of over two thousand Sicilian Greek coins discovered on the site of Naxos (Schiso) in 1853, was deposited at the time of Dionysios' destruction of that city (c. 403 B.C.). Were this view correct, the entire absence of Syracusan dekadrachms in this deposit might be urged as an argument for bringing down their first emission at least to the last three years of the Fifth Century. Miserable, however, as are our sources for the contents of this great hoard, they at. least afford conclusive evidence that it was withdrawn from circulation several years before 403. The first account of this discovery was given in a short com- munication to the Roman Institute by Padre Pogwisch (Bull. delV Inst., 1853, p. 154), which was afterwards supplemented (Bull. dell. Inst., 1853, pp. 155 7) by a somewhat fuller, though quite summary, report by Don Giuseppe Cacopardi, who, however, groups another find recently made at Reggio with the Naxos hoard. In 1854 Riccio (Bull. delV Ins.,1854, p. xxxix. seqq.) basing his account on various consignments of recently discovered coins that had passed through his hands at Naples, gave what professed to be an account of three finds made in 1852 3 in the neighbourhood of Reggio, Messina, and on the site of Naxos. Riccio, however, once more jumbles the separate finds into one account, and even this strange hotch-potch is not. as far as can be judged, very scrupulously described witness his splendidly vague citation of Castelli's plates. To cap this dis- creditable performance, moreover, he throws in with the rest yet another find that had been recently made at Noto, consist- ing chiefly of coins of Hieron II. and Philistis (Cf. Romano, op. cit., p. 51). Finally, Cavedoni (Bull. delV Inst., 1855, viii.) gravely supplies a commentary on Riccio's jumble without DATE OF THE GREAT NAXOS HOARD. 171 detecting anything remarkable in the mixture of the finest Fifth Century types with those of a date two centuries later, or even observing the absence of intermediate issues. To arrive at a basis for obtaining some knowledge of the latest types in the Naxos hoard, we have the following con- siderations to guide us : 1. The Reggio hoard is described by Cacopardi as consisting exclusively of " bigas " (sic). It follows, therefore, that the coins described as exhibiting " quadrigas," i.e. dis- playing the four horses clearly distinguishable from their high action, belong to one of the other finds. 2. The Noto coins consisting of Hierons, Philistideia, Ptolemies, &c., may be easily eliminated. 3. In the case of Riccio's jumble the Messina hoard still remains an unknown quantity. 1 It is obvious, however, that when (the Third Century coins of the Noto find having been eliminated) the types of any city do not come down to a certain date, it shows that the examples of those types represented in the Naxos find do not come down beyond this term, though they do not necessarily reach down to it. The crucial test of the date of the Naxos deposit is certainly supplied by the coins belonging to Naxos itself, which were specially numerous. Of those described by Cacopardi, there were many of " seconda grandezza," representing Dionysos in " Etruscan style," in other words, the earliest of the Naxian types struck before c. B.C. 480. The next class, with the head of Dionysos in Transitional style, was also numerously repre- sented. Of those of the finest style, upon which the head of Dionysos is seen surrounded with an ornamental diadem, Caco- pardi only noticed a single example. Out of 170 Naxian coins seen, by Eiccio there were about 20 of the earliest class with the pointed beard, but the bulk were of the Transitional style. Only 6 were of the fine period. From both accounts it appears that not only were the tetradrachms of the fine style very sparsely represented, but that the later Naxian types, on which the ivy-crowned head of the young Dionysos and the laureate head of Apollo make their appearance, were entirely absent. 1 Cacopardi seems to regard the coins found near Messina as of very late date, bordering, in fact, on the Norman period. Riccio, however, leads us to infer that a find of early Greek coins had been made at Messina. 172 SYRACL'SAN "MEDALLIONS" AND THEIR ENGRAVERS The bulk of the Katanaean coins again were of the ordinary, i.e. Transitional style. There were two or three examples of later coins engraved by Evaenetos in his early " manner" (the head of Amenanos and of Apollo with Delphic fillet). Two facing heads occur, but full-facing heads had appeared at Selinus and Syracuse before 409. The works of Herakleidas and Choirion that characterize the last period of the Katanaean coinage, were apparently conspicuous by their absence. The quick qnadrigas of Himera struck by 409 B.C. were un- represented. The only coin of Eryx was a small Transitional piece, and no tetradrachm was found. The coins of Segesta seem to have been mostly of earlier types, and no tetradrachms of this city occurred. Not a single gold piece was found ; but the gold coinage had been introduced at Akragas, Gela, and Syracuse, about the time of the Athenian siege, or earlier. On all these grounds it seems to me that it would be highly unsafe to bring down the date of the Naxos deposit later than 410 B.C. The account of the Syracusan coins discovered in the hoard is vague and unsatisfactory Riccio referring to whole pages of Castelli at a time ! It appears certain, however, that one specimen of Eukleidas' tetradrachm with the three- quarter head of Pallas was discovered : an interesting indica- tion of the comparatively early date of this type. As a matter of fact, this design by Eukleidas is coupled at times with a reverse design, probably from the hand of Evarchidas, and greatly resembling those in which Nike holds an aplustre, in commemoration of the sea victory over the Athenians in 413 B.C. SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. I. AN EARLIER KIMON AT HIMERA. DURIXG a recent journey to Sicily I obtained a tetra- drachm of Himera, which may be said to open a new chapter in the history of artists' signatures on Greek coins. The tetradrachm in question (PI. X. la) is of the kind presenting on the obverse a quadriga, crowned by a flying Nike", in which the horses are seen in a somewhat higher action than the better-known early transitional type 1 where they seem to be merely walking. In the present instance the nearer forelegs are raised somewhat higher from the ground, and convey the impression that the horses are breaking into a trot. In the exergue, moreover, the retrograde inscription WOIAS3MI is divided by the old canting badge of Himera (quasi >//ie'/ja) " the bird of day." This obverse type differs from any in the British Museum ; it is found, however, on a coin in the Museo Nazionale at Naples, though in this case the obverse design has been falsified by means of tooling. The head of the cock in the exergue below has been thus transformed into a horned and bearded head of Pan, in blundered imitation of the human-faced 1 Head, Historia Numorum, Fig. 78, p. 126. 174 SOME NEW ARTISTS' SIGNATURES ON SICILIAN coixs. monster with horns and wings whose forepart appears on contemporary litras of this city. 2 The reverse of the coin presents a variation from the usual Transitional design. The Nymph Himera is seen clad in a sleeved tunic and peplos, with her left hand raised and her right hand extending a patera to sacrifice over a garlanded altar, with gabled top, that stands to her right. To the left is a small Seilen taking a douche bath beneath the lion-headed fountain which represents the neighbour- ing hot springs the Thermae Himerenses that still gush forth in the modern town of Termini. Above the left hand of the Nymph, as if tossed into the air, is a single barley-corn, indicative, perhaps, of the character of the offering. Though in its general scheme answering to the usual design on the HimeraBan tetradrachms of the Transi- tional class, there are visible in the present example certain differences both in style and details. The folds of the peplos are executed with surpassing delicacy and fineness, and cover more of the bosom than is usual in later examples. The Nymph's back hair is not, as on the later Himersean tetradrachms of this class, contained in a sphendone, but is caught up behind by a diadem, from above which it protrudes in a bunch -(krobylos) as on early coins of Syracuse, Segesta, and elsewhere. This arrange- ment is identical with that of the same Nymph's hair as 2 This coin is described in the Catalogo del Museo Nazionale di Napoli: Medagliere, 4429. The author of the Catalogue, not observing the falsification, has described the cock in the exergue as having a satyr's head. The head of the charioteer and of the flying Nike above have also been tooled on this example past recognition. Happily the reverse of the coin has remained untouched, and is given in PI. X. fig. Ib as supplying a better representation of the design than my own specimen, though the part of the altar presenting the inscription is blurred. AN EARLIER KIMON AT H1MERA. 175 it appears on the early didrachm of Himera with the legend IATO/V. The most interesting feature of the coin, however, remains to be described. A minute examination of the reverse revealed to me the fact that the upper part of the altar, immediately above the cross-moulding beneath the pediment, bore upon it an inscription. Examining this with a lens I read it KIMON. 3 Fig. 13. (4 diams.) Although I subsequently examined the coin repeatedly and in different lights, both with magnifying glasses of various powers and with my naked eyes, and obeyed in a literal manner the precept : "Nocturna versate manu, versate diurna," I could only return to my original reading. Conscious, however, of the great discrepancy of date between the known pieces with the signature of Kimon and the present example, and not wishing to trust my unaided judgment in the matter, I submitted the coin to a succes- sion of practised numismatists, without, however, giving them any clue to the name that I had myself made out. Amongst those who examined the piece may be mentioned Messrs. R. S. Poole, B. V. Head, H. A. Grueber, and W. Wroth, of the British Museum ; Professor Percy Gardner, 3 The outline of the M and O is imperfect and not so clear as that of the other letters. The K I and N are unmistakable. 176 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. of Oxford, and Professor J. H. Middleton, of the Fitzwilliam Museum, Cambridge, and Dr. John Evans. All these authorities not only agreed as to the fact that there was an inscription on the altar, but in each case, after minute examination, came to the independent conclusion that the letters upon it spelt the name of Kim on. The present signature, extraordinarily minute as it is, must, therefore, be regarded as as well ascertained as that on any other Sicilian coin. The importance of this fact will be understood when it is remembered that the tetradrachm on which it appears is of a distinctly earlier date than any known example of a coin presenting an artist's signature, either in Sicily itself, or in any other part of the Greek world. The date of the present type may be approximately fixed on several grounds. Its early " transitional" style itself affords sufficient evidence that the piece before us was struck at a date considerably anterior to the later class of tetradrachm s exhibiting more advanced versions of the same design. Yet, in 409 B.C., when the Carthaginians took Himera and razed it to the ground, this later class had itself already yielded to a still more developed type, presenting on the obverse a quadriga with horses in high action. On the other hand a terminus a quo is supplied by the domination of Theron, of Akragas, and his son, Thrasydaeos, from B.C. 482 to c. B.C. 470. It is to this period that the Himeraean drachms and didrachms, exhibiting upon their reverse the Akragantine crab, must unquestionably be referred, and it was, in all probability, during the years that immediately succeeded the recovery of Himeraean independence, about 470 B.C., that the coins representing the Nymph Himera sacrificing were first struck. The earliest coin of this new series seems to be AX EARLIER KIMON AT HIMERA. 177 the didrachm with the mysterious legend IATO/V ou the reverse, and from the fact that the tetradrachm with which we are concerned attributes to the Nymph the same archaic type of head-dress that characterizes the didrachms with the above legend, it is evident that its issue must approxi- mately belong to the same period. Upon the later tetra- drachms this archaic top-knot is abandoned, and we may, therefore, infer that the present coin belongs to the earliest class of tetradrachms struck by this city. It is probable, indeed, that the type in which the Nymph is seen throwing up a wheel in place of the barley-corn, and which displays the figure of the Seilen in profile, 4 is slightly anterior in date to the present example ; but with this exception the coin before us, presenting the signature of Kimon, must be regarded as the earliest of the Hime- raean issues of this denomination, and it would be certainly unsafe to bring down its approximate date lower than 450 B.C. The improvement perceptible, alike in the design and execution of the present tetradrachm, as compared with the other, and, as the identity of the Nymph's coiffure shows, nearly contemporary type, supplies convincing evidence that the engraver who has here attached his name to the reverse was an artist of no mean capacity. The bathing Seilen, with his head bent back and looking round towards the spectator, his wrist turned in and pressed against his side as if in the act of rubbing it, and his whole expression and attitude instinct with animal enjoyment, is itself a masterpiece for the numismatic period in which it makes its appearance. It strikingly recalls the pictorial method of treating similar subjects, as seen, for instance, on the 4 B. M. Cat. No. 32. A A 178 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. remarkable polychrome amphora found at Yulci, 6 in which four naked women are represented taking a douche-bath from as many spouts in the shape of the open jaws of lions and boars ; or, again, on a black-figure vase in the Leyden Museum, 6 where youths and men are exhibited disporting themselves after the same manner. Equally admirable is the rendering upon this coin of the diaphanous folds of the Nymph's Ionic mantle, which for lightness and delicacy of touch is unique in the Himersean series. It is evident that the Kimon who signs on these coins cannot be the artist of that name who attaches his signature to the fine tetradrachms and pentekontalitra of Syracuse struck during the last two decades of the Fifth Century B.C. But in view of the well-known Greek practice of repeating personal names in alternate generations and the prevalence of hereditary succes- sion in artistic industries, of which we have a striking numismatic example in the case of the celebrated group of Syracusan die-sinkers, the probability that the earlier Kimon was the grandfather of the later becomes con- siderable. The number of artistic engravers whose signatures appear on the Sicilian dies is still so limited, that such a coincidence of names must in any case be regarded as a highly suggestive phenomenon. On the other hand the interval exceeding one generation 5 Gerhard, Etruskische und Kampanische Yasenlilder d. k. Museums zu Berlin, Taf. 30 ; Lenormant et De Witte, Elite des Monuments ceramographiques, iv. 18 ; Baumeister, Denknii.iler des klassischen Alterthums, i. p. 243. Rayet and Collignon (Hixtoire de la Ceramique grecque, pp. 106-7) remark of this amphora, "peut-etre ce joli vase sort-il d'un des ateliers des colonies chalcidiennes de la Campanie ; voir nieme d'une des fabriques de quelque cite dorienne de la Sicile ou de la grande Grece." 6 Roulez, Choix des Vases prints dn Musee de Lei/de, PI. XIX. 1, p. 79; Daremberg et Saglio, s.v. Balneum (i. p. 649). AN EARLIER K1MON AT H1MERA. 179 between the activity of the two homonymous engravers fully accords with such a relationship. It is to be observed that at Syracuse itself, Kimon's name does not, except in the solitary instance of a hemidrachrn signed I M on the obverse, 7 appear associated with that of any other engraver on the same coin. Both the obverse and reverse designs of the coins signed by him are from his own hand. 8 In this respect he stands quite aloof from the well-known group of engravers to whom two- thirds of the signed coins of Syracuse belong, Eumenes, Eukleidas, and Evsenetos, 9 the two latter of whom occa- sionally attach their signatures to pieces the other side of which is engraved by the earlier and less advanced Eumenes, to whom they probably stood in a filial rela- tion. 10 Kimon himself appears at Syracuse, as the inde- pendent contemporary and rival of the two younger artists, and there is no evidence in his case of any pre- existing connexion with Syracuse. On the other hand it is a noteworthy fact that outside Syracuse, we find the evidence of this later Kimon's activity on the coins of the Chalkidian city of Messana, 11 and there are some reasons for believing that he also worked for the Bhegian mint. His signature reappears at Metapontion, and there is circumstantial evidence of his connexion with the Chalkidian cities of the Campanian coast. 12 I B. M. Cat. Sicily, p. 181, No. 238. 8 See p. 77. 9 To these may be added the artist who signs Euth, on a reverse coupled by an obverse by Eumenes, and Phrygillos who is in the same way associated with Euth . . . , and Evarchidas. 10 See Weil, Die Kiinstlerinschriften der Sidlitchen Munzen, p. 52. II See below, p. 186188. u See p. 75 seqq. 180 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. If we may believe that this later Kimon was himself a scion of the great Chalkidian foundation of the North Sicilian Coast, it would go far to explain the apparent geographical range within which his works were exe- cuted. 13 II. MAI ... AT HlMERA. There exists a remarkable tetradrachm type of Himera distinguished from all other varieties by its advanced style, and obviously dating from the period which imme- diately preceded the destruction of the city by the Cartha- ginians, which has long, with good reason, been suspected of having originally contained an artist's signature. 14 This is the piece 15 upon which there appears above the quad- 13 A further argument might be adduced for connecting this Kimon with the North Sicilian Coast were it possible to accept Professor Salinas' suggestion (Notizie deyli Scavi, 1888, p. 810 ; and cf. Tav. xviii. 33) that a Siculo-Punic tetradrachm (pro- bably struck at Panormos) with a Phoenician inscription in the field, bears his signature. The letters on the ampyx of the sphendone-band, however, on which Professor Salinas relies, are by no means clear, and the head itself is, to my mind, a Siculo- Punic copy of a fine Syracusan type by the engraver Eukieidas. Professor Salinas' observation that the attitude of the charioteer on the reverse recalls that on a reverse accompanying Kimon's celebrated design of the facing Arethusa (op. cit. Taf. iii. lOa) is certainly just, but the scheme of the horses is in this case different and hardly Kimonian. 14 Cf. for instance, Weil, Kumtlfrinschriften, &c., p. 23. 18 B. M. Cat. No. 48, where it is described as follows : " Nymph facing, head 1., wearing sleeved chiton and peplo3,the ends of which fall over r. arm ; she holds in r. hand patera over altar with square horns ; behind her a Seilen, facing, bending sideways to receive on his 1. shoulder jet of water issuing from a lion's head fountain. Quadriga r., driven by charioteer wearing long chiton who holds reins in both hands ; horses in high action ; above, Nike 1. holding wreath and tablet. In ex. sea-horse, 1." MAI ... AT HIMERA. 181 riga, on the obverse side, a small figure of Nike bearing aloft a suspended pinakion or tablet, in a manner precisely similar to that exhibiting the signature of Evasnetos on a well-known tetradrachm of Syracuse. 16 On the Himeraean example in the British Museum, the tablet held by Nike is unfortunately quite smooth and without a trace of let- tering ; on a specimen, however, in the Paris Cabinet des Medailles, (PI. X. fig. 2), I have now succeeded in detect- ing the actual inscription, of which an enlarged copy is here given : Fig. 14. (4 diams.) The first stroke of the M is somewhat indistinct, but the remaining part of the inscription is clear. It can only be read MAI, 17 in which we are at liberty to seek the name of the engraver, Maoon 18 perhaps, or Maethion. 19 The tetradrachm in the Paris Cabinet is further epi- graphically important from the inscription traceable on the exergual space beneath the Nymph, a part of the coin which is wanting in the British Museum specimen. It reads H, which by analogy with the inscription IMEPA in the field beside the female figure on the earlier tetra- drachm of this city having on its reverse the figure of Pelops with his name attached, 20 may be taken as giving 16 B. M. Cat. No. 188 ; Kiinstlerinschriften, &c. T. ii. 1. 17 M. Babelon, to whose courtesy is due the impression of this piece figured on PI. X. 2, agrees in this reading. 18 C.I.G. 2855. 19 C.I.G. 4437. 20 Friedlander, Berliner Blatter, &c., i. 137 ; v. 4 ; Imhoof- Blumcr, Monnaies Grecques, PI. B, 3. 182 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. the first syllable of the name of the Nymph Himera. 21 This appearance of the form ^ is unique on the coinage of the Sicilian cities. It is noteworthy, however, that at Himera itself a great variety is observable in the initial letter of the name of the city and its eponymic Nymph. In the early period the aspirate is consistently given in the form H ; on the tetradrachms, however, struck after c. 467, it disappears, though recurring still on drachms and litras. On Transitional copper coins the inscription KIM A PA is found. 22 Finally, on an obol exhibiting on the obverse side a head, as it seems, of Kronos, and on the other a Corinthian helmet, the civic inscription occurs as 0IME. 23 The present initial H represents a letter-form peculiar to the Tarentine and Herakleian mint, and must 21 It can hardly be a new version of the inscription which occurs in the exergual space of the still earlier didrachms, since this enigmatic inscription is not found on the later Himeraean issues. 22 B. M. Cat. Sicily, p. 81, No. 50, and p. 82, No. 51. These coins are hemilitra. It may be suggested that the form Kimara should be brought into relation with the he-goat (xi/xapos) which appears on the obverse side, and that the adoption of this design on the Himersean coin as well as that (B. M. Cat. Sicily, p. 80, Nos. 41-44) representing the forepart of a winged monster with the horn of a goat, a man's head, a lion's paw, and the head of a lion resting against the shoulder, should be regarded as due to a play on the word Chimcera, just as the cock on other coins seems to stand in relation to the form HIM EPA quasi rj^pa. The early established connexion between the Chimaera and volcanic forces (cf. Fischer, Bellerophon, Leipzig, 1851, p. 90 seqq.) would give an especial appropriateness to its appearance on the coins of a city famed for its thermal springs. The Lykian Volcano, Chimsera, which served in antiquity as the " local habitation " of the monster, received its name from the probably Semitic Solymi. Fischer (loc. cit. p. 93) compares the Hebrew *"ian = to roar ; to rise as with leaven (specially applied to bitumen or boiliug pitch, cf. Gesenius, s. v.). 23 B. M. Cat. Sicily, p. 81, No. 46. MAT ... AT HIMERA. 183 itself be regarded as a late form of Vau?* The appear- ance of these various equivalents, H,0 K and F, for the initial sound of the name Himera seems to indicate that the original sound was of a complex character, imperfectly reproduced by any one letter of the Greek alphabet. The coin itself is otherwise of great interest owing to the advanced character of the design on both obverse and reverse, and the chronological standpoint that it affords us. The sacrificing nymph and the bathing Seilen are both free from archaism, and the high and even sensational action of the quadriga is a striking phenomenon for the date at which this coin was struck, and which cannot by any possibility be later than 409 B.C., in which year Himera itself was utterly destroyed by the Carthaginians. The overthrow of this city was indeed more complete than that of any other Sicilian town that at this period fell into Carthaginian hands, owing to the fact that they had here the memories of a past disaster, the greatest that ever befell them in the island, to wipe out. It was beneath the walls of this city that, two generations earlier, the Carthaginian General Hamilkar and his mighty host had been slain or captured by Theron and Gelon, and the grandson of the fallen commander, Hannibal, the son of Giskon, to whose lot it had fallen to lead the successful onslaught of 409, expiated the former slaughter and the manes of his grandfather by the solemn sacrifice of three thousand captive warriors and by razing the city 24 Kirchhoff, Studien zur Geschichte dcs griechischen Alphabets (1887) (p. 146). As a form of Vau in its numeral application = 6, h also served to indicate a drachm (= 6 obols). In this signification it is frequent in Attic inscriptions, but it cannot be taken as mark of value in the case of our tetradrachm. 184 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. to the ground. 2 * "When, not long afterwards, Hermo- krates recovered the site of Himera, it was such a heap of ruins that he was constrained to encamp outside the town. 26 The destruction of Himera followed almost im- mediately on that of Selinus, 27 and its exceptionally thorough-going character, of which we have the historic record, precludes us from supposing that it ever was in a position to renew its once brilliant coinage. The remnant of its citizens who survived never seem to have attempted to restore their fallen city or to reoccupy its site, but preferred to settle in the new town of Therma, which the Carthaginians had founded about the hot baths some few miles distant from Himera itself. Here they revived the civic issue under the name of the Thermitse. 28 The necessity of assigning a date, not later than 409 B.C., to the remarkable piece signed MAI is, as already pointed out, of further importance in its bearing upon the chronology of the Syracusan tetradrachm by Evaenetos which has so obviously influenced its design. 29 When it 25 Diodoros, Lib. xiii c. 62 : " '0 Se 'Awi(3as TO. /xev iepa (rvXyo-as Koi rove Kara^vyovras i/ceras aTrocrTracras eveVp^cre *cal TTJV iroXiv ets ?SaPY on the front band of the sphendone, while EYAPXIAA is clearly legible beneath the exergual line on the On a very similar type 41 the same inscription is seen above the exergual line immediately below the horses' forefeet. Professor Salinas has called attention to two speciali- ties in the above designs of Evarchidas the fact that Persephone, who here drives the chariot, is represented almost full facing, and that Nike above holds a small aplustre as well as the wreath. In this naval trophy he detects a distinct allusion to the sea victory of 413, won by the Syracusans over the Athenians in the Great 40 Salinas (loc. cit.) cites another specimen of this type in the Luynes Collection. 41 Three examples exist of this coin one is in the collection of Baron Pennisi at Acireale, and is published by Salinas, loc. cit. p. 806, and the two others are in the Cabinets of Berlin and Munich. The reverse of the first of these, photographed by Weil (Kunstlerinschriften, &c., T. i. fig. 12), was by him erroneously attributed to Eukleidas ; the other, published by Streber (Die syracusanischen Stempehchneider Phrygillos, &c.), was by that writer also ascribed to Eukleidas. EVARCHIDAS AT SYRACUSE. 191 Harbour of the city, which left the land forces of the invaders at the mercy of the conquerors. 42 Two other tetradrachm reverses have been referred by Professor Salinas to the same engraver. Both show the same disposition of the horses, Persephone with the torch, Nike with the aplustre and the corn-spike in the exergue. On one of them, however, from the Fox collection, the Goddess appears with a larger body and more flowing locks. On the other, in the Luynes collection, her head is in profile. Of this latter type I am now able to cite two more examples. One of these, PI. X., fig. 6a, is from the hoard recently discovered at Santa Maria di Licodia, in Sicily. The head, as usual, is by Phrygillos, traces of his signature, <|>PY, being visible on the sphendone band above the forehead ; the reverse shows Persephone with her peplos flying up like a hood behind her head, a feature which strikingly recalls the bas-relief of the victory-crowned quadriga from the Parthenon, now in the Elgin room of the British Museum. 43 Nike is seen above holding the wreath and aplustre, and to the right of the ear of corn in the exergue are apparently traces of letters. Another specimen, of the same type and on both sides from the same die as the preceding, exists in the British Museum. 44 The obverse of this coin, as being better preserved than that on the Santa Maria example, is given on PL X., fig. 6b, for comparison. The inscrip- 42 See above, " Syracusan ' Medallions ' and their Engravers," p. 181. 43 Ancient Marbles, &c., ix. 33. 44 B. M. Cat., Sicily, No. 159. The reverse of this coin is not so well preserved as that from the Santa Maria find and the exergue is unfortunately far from clear. 192 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. tion reading ^ YPAKH^ IOIV, presents us with a curio- sity of transitional epigraphy ; 4 the aplustre on the reverse is wrongly described as " a palm " in the Catalogue. Accepting Professor Salinas' suggestion that the occa- sion of these interesting types, in which Nike bears aloft the naval trophy, is to be sought in the destruction of the Athenian fleet in the Great Harbour of Syracuse, we gain a new and very satisfactory standpoint for the date of the peculiar scheme of quadriga with which the dies of Evarchidas are associated. At Syracuse itself, a very similar scheme, in which the front pair of horses is seen with their heads turned back to back, while the third horse raises its nostrils above the forehead of the second, accom- panies the well-known head of Arethusa by Eukleidas with the upward streaming hair, 46 as also his facing head of Pallas. 47 Similar schemes are also found in connexion with the obverse type signed | M, 48 with another head by Phrygillos, 49 with Kimon's tetradrachm head of the side- facing Arethusa in the net. 50 At Kamarina the same scheme characterizes the reverses of tetradrachms signed by Exakestidas ; 51 at Katane it is seen on the coins signed by Evaenetos, 52 presenting the fine head of Apollo, which 45 See p. 60. 46 B. M. Cat., 194195, Head, Coins of Syracuse, PI. IV. 5. On this and the other parallel cited, however, the head of the hindmost horse is not turned back as in Evarchidas' design. B. M. Cat, 198199. 48 B. M. Cat., 214. Head, op. cit., PI. V. 3. 49 B. M. Cat., 158. On the reverse of this coin Persephone is seen holding a torch as on the design of Evarchidas. The aplustre, however, is absent. It is possible that this reverse die must also be ascribed to Evarchidas. 60 B. M. Cat., 207. Head, op. cit., PI. IV. 8. 51 B. M. Cat., 264. Weil, Kumtlerinschriften, &c., Taf. ii. 7. 52 Weil, op. cit., Taf. ii. 4 and 4a; B. M. Cat., 35. PARME ... AT SYRACUSE. 193 must still be described as executed in his earlier manner. At Agrigentum it occurs on the beautiful tetradrachm inscribed ^ TPATH N, 53 and a close parallel is found at Segesta 64 before 410. These equations are calculated to cast a new light on the chronology of the Sicilian issues of this period, and show that sensationalism of design in the quadriga types, which, as has already been noticed in the preceding section, 55 reaches its acme at Himera in or shortly before 409 B.C., was already far advanced as early as 413. V. PARME ... AT SYRACUSE. A Syracusan tetradrachm in my own collection (PI. X. fig. 5), recently found near Taormina (Tauromenion), supplies a new variety of the signature of the engraver Parme The coin, though from a different obverse die, presents the same female head, doubtless of Arethusa, in the star-spangled sphendone as that on the known coins by this artist, 56 but in this case the letters PAP are visible, 53 B. M. Cat., 58. 14 B. M. Cat., Sicily, p. 134, No. 34. 55 See p. 13 and note. i6 B. M. Cat., Sicily, p. 178, Nos. 212, 213; Head, Coinage of Syracuse, PI. V., 1 ; Weil, op. cit., Taf. iii. 11, and p. 20; Raoul Rochette, op. cit., PI. IL, f. 17, and p. 30; Von Sallet, op. cit., p. 43. c c 194 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. as above, on the front part of the neck immediately above the necklace (Fig. 16). It will be recalled that this method of signature corresponds with that adopted by Evsenetos in his facing head of the young River-God Hipparis on a didrachm of Kamarina. On the other hand, the appearance of the letters on the neck in this example, may in this case be simply due to double striking. The reverse of this coin, in which the horses of the quad- riga are seen with a trailing rein trampling under foot a broken chariot- wheel, is identical with that of some un- signed coins unquestionably by the same engraver. 57 VI., VII. SYRACUSAN HEMIDRACHMS BY EVJENETOS, AND BY AND Y A Syracusan hemidrachm presenting in the exergue of its reverse a broken chariot-wheel, has already, from the character of the design, been attributed by Mr. Head to Evsenetos. 58 Whilst recently at Syracuse I acquired the following hemidrachm (PL X. fig. 9) containing in the abbreviated form E what must certainly be regarded as the signature of this artist. Obv. Female head to 1., wearing star-spangled splien- done, necklace, and, apparently, spiral earring ; on either side a dolphin head downwards ; below Rev. Quadriga to r., much resembling that of Evasnetos' signed tetradrachms (B. M. Cat., 188) but with- out the trailing rein, driven by male charioteer, crowned by flying Nike. . In ex. E between two dolphins. Wt. 28 grs. 57 B. M. Cat., Sicily, p. 178, No. 212, and p. 179, No. 219 (Head, op. cit., PI. V. 2). 56 Coins of Syracuse, p. 10, and cf. PI. III. ; B. M. Cat., 164, 155. EV^NETOS. 195 This coin, it will be seen, is a variety of that given in the B. M. Cat., Sicily, No. 166. On another Syracusan hemidrachm in my own collection (PI. X. fig. 8), 59 presenting an obverse head somewhat similar to the above, but with a different profile and with flowing locks escaping from above the sphendone, the letter <1> makes its appearance in the space beneath the chin. From the general agreement of the female head on this coin with the types of Phrygillos, it is probable that the obverse type in question must be referred to that engraver. Upon the reverse of this piece a scheme of horses ap- pears presenting, perhaps, the greatest resemblance to the quadriga on a tetradrachm the obverse type of which is Kimon's famous facing head of Arethusa. It also occurs on late hemidrachms of Selinus. The heads of the two fore- most horses are in this scheme turned back to back, while the second and nearer pair have their heads and necks partly overlapping. In the exergue is an ear of barley, and to the left of it the letters EY, the inscription being apparently continued to the right of the symbol, though it is here, unfortunately, illegible. It is to be observed that the ear of barley upon the Syracusan tetradrachms is usually associated with obverse heads by Phrygillos, while the reverse types that it accom- panies seem to be in nearly all ascertainable cases from the hand of Evarchidas. It is to this artist, therefore, that the reverse of our hemidrachm must be preferably ascribed. 59 The weight of this coin is 31 grs. 106 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. VIII. EXAKESTIDAS AT KAMARINA. The name of the engraver Exakestidas is already asso- ciated with two coin-types of Kamarina. In the one case his signature in the abbreviated form EEAKE between two upright strokes on a raised band, is seen written back- wards beneath the head of the young River-God Hipparis, on a didrachm of that city displaying upon the reverse the Nymph Kamarina on her swan, clad in a short-sleeved tunic. 60 In the other case, that of a tetradrachm, the name EZAKE^TIAA^ appears in full on the exergual line of the reverse representing a victorious quadriga in high action driven by Pallas. In the exergual space below are two linked amphora, the prizes of a chariot race in Athena's honour, full of her sacred oil, and the obverse of the coin exhibits a singularly youthful head of Herakles coifed in his lion's skin. 61 A highly interesting tetradrachm of Kamarina (PL X. fig. 4) recently acquired by me in Sicily, has now 60 Salinas, Rev. Num., 1864, PI. XV. 6, Le Monete delle Antiche Cittd di Sicilia, Tav. xviii. 2. Von Sallet, Kunstlerinschriften, &c. p. 16. Weil, Kunstlerinschriften, &c., Taf. ii. 8, and p. 14. This coin is in Dr. Imhoof-Blumer's collection. On a closely allied type in the B. M., Sicily, p. 37, No. 18, an A, and perhaps a part of K, are seen beneath the head of Hipparis, which doubt- less belong to the same signature. It is probable that ail the reverse types of the Kamarinaean didrachms in which the Nymph Kamarina is seen clad in a tunic are by the same engraver. On the design of the Nymph which accompanies the facing head of Hipparis by Evrenetos the upper part of her body is represented nude. 61 First published by Raoul Rochette, Lettre a M. U Due de Luynes sur les Graveurs des Monnaies Grecques, Paris, 1831, p. 32, and PL II. 18. (Cf. B. M. Cat., Sicily, p. 36, No. 14; Weil, 'op. cit. Taf. ii. 7, and p. 14. Salinas, Le Monete, &c., Tav. XVII. 16.) EXAKESTIDAS AT KAMAR1NA. 197 supplied the proof that this beautiful but somewhat effeminate head of the young God, of which it has been justly observed that but for connecting links between the types and the traces of the incipient whisker it might be taken to portray Omphale rather than Herakles, 62 is also from the hand of Exakestidas. The obverse of this coin, the head of which is identical with that referred to above, and which contains the civic legend in the same form, KAMAPIA/AIO N, displays in the field in front of Herakles' lips a diptych, as represented below, upon the two leaves of which appears the inscrip- tion, EEAKE*. Fig. 17. (4 diams.) The reverse type of this coin differs in several respects from that which bears the name of Exakestidas in full on its exergual line. Great prominence is here given to the figure of Athena, who literally towers above the chariot and holds in her right hand an abnormally long goad. The wheel of the chariot only one is visible on this type is in greater perspective. Of the horses, the first three are abreast, their heads and necks par- tially overlapping, and arranged in a slightly ascending scale, while the foremost horse plunges forward, and rears his head and neck upwards, so as almost to touch 62 Gardner, Sicilian Studies (Num. Chron. 1876) p. 32, and cf, his Types of (jreek Coins, p. 128. 198 SOME NEW ARTISTS' SIGNATURES ON SICILIAN COINS. the foot of the flying Victory above. In the exergual space is a barley-corn, and no signature is visible on this side. An unsigned teirairachm of Kamarina exists, which, from its great resemblance to the present piece, must be referred to the same engraver. 63 In this case, in place of the inscribed tablets, there appears in front of the chin of the youthful Herakles an olive spray consisting of a leaf and berry. The civic legend takes the later form, KAMAPINAIflN. The reverse is the same, and on an example in the Naples Cabinet, and another in the British Museum, 64 it is from the same die. The inscribed diptych on the obverse field of the newly- discovered tetradrachm by Exakestidas recalls that con- taining the name of Eukleidas, which occurs in much the same position on a Syracusan piece. 65 The Syracusan tetradrachm type in question represents the earliest work of Eukleidas of which we have any knowledge, and the two reverses with which it is coupled are both signed by Eumenes, and executed in the rude early man- ner of that artist. Syracusan influence is very marked on the dies of Kamarina, and we have, indeed, the evidence of Evaenetos' signature on the most beautiful of the 63 Salinas, Le Monete, &c., Tav. xvii., 17; B. M. Cat., Sicily, p. 36, No. 15. Gardner, Types of Greek Coins, PL YI. 15 and 17. Head, Historia Xumorum, p. 122, fig. 69, where, how- ever, it seems to be wrongly implied that the signature EHAKE ^ "TIAA ^ is associated with the reverse of this type. 64 Gardner, Types of Greek Coins, PI. VI. 27. 65 B. M. Cat., Sicily, p. 173, No. 193. Yon Sallet, op. dt.,-p. 22. Raoul Rochette, op. cit., PL I. 2. The reverse in these cases signed EYMHNOY. Weil, Kunstlerinschriften, &c., Taf. iii. The reverse signed EY- EXAKEPTIDAS AT KAMARINA. 109 didrachm types of this city to show that a colleague of Eukleidas actually worked for the Kamarinsean mint. The quadriga types of Kamarina may, perhaps, in all cases, be traced back to Syracusan prototypes, and the scheme of the horses on the present piece, though immediately derived from the groups that appear on two- slightly earlier tetradrachms 66 exhibiting the bearded head of Herakles, must be regarded as in the second degree an outgrowth of the arrangement adopted by Evaenetos in a fine early design that accompanies an obverse head signed by Eukleidas. 67 These typological considerations, as well as the general style of the design and engraving, incline us to place the new work of Exakestidas very late in the Kamarinaean series. On the other hand the existence of a very similar type without the signature and with the civic inscription in a later style of epigraph, characterized by the upright N and 1 for O, precludes us from bringing down its date of issue as late as 405 B.C. 66 Salinas, Le Monete, &c., Tav. xvii. 5 and 6. 67 B. M. Cat., Sicily, p. 173, No. 190. Weil, op. cit., Taf. iii., 6. This design, in which the signature EYAINETO appears on the exergual line, is almost literally copied in the Kamarinzean quadriga given in Salinas, op. cit., Tav. xvii. 5, an overturned meta being substituted for the broken wheel in the exergue. The Syracusan reverse by Evsenetos (already referred to, p. 12, as the source of a late Himerasan type), in which Nike is seen bearing aloft the inscribed tablet, also stands in a near relation to these designs. These quadriga types by Evaenetos are themselves developments of an earlier scheme associated with the signature of the older master, Eumene's. APPENDIX To NEW ABTISTS' SIGNATURES ON SICILIAN COINS. A SUPPLEMENTARY specimen from the Santa Maria hoard has now enabled me to detect a new form of Kimon's signature on the reverse of a fine Syracusan " Medallion " of his second type. Kl The obverse of this coin presents the signature ^ on the band above the forehead as it appears on Kimon's earliest deka- drachm type, and in this case, too, there is no trace of letters on the dolphin beneath Arethusa's neek. The reverse, on which the arms and the inscription AOAA below them are well preserved, shows the usual traces of the full form of the name KIM.QN on the upper surface of the exergual line, but over and above this it presents the retrograde and abbreviated i\i signature | in the space between the reins and the haunch of the nearest horse. We have thus, for the first time, a reverse parallel to the reduplication of Kimon's signature in a full and a shortened form which characterizes the obverse of his later " Medallions." In both instances we may venture to detect, as I have already suggested in the case of the Velian and other Magna Grsecian and Sicilian artists, 1 a reference to the double character in which Kimon was connected with the Syracusan dies. In the more conspicuous signature, here the letters in the field, he must be held to sign as a responsible mint official. In the almost imperceptible reproduction of his name above the exergual line he unquestionably signs in a purely artistic capacity. Another example of this interesting piece, and from the same die, exists in the Cabinet des Medailles, and is reproduced as a fine specimen of Kimon's second style on Plate II., Fig. 1. 1 Horsemen of Tarentum, p. 116 seqq. INDEX. A. A on seriea of Sicilian coins, 136 seqq. ; view of Weil, Von Sallet, and others, that it is an artist's signature, 136 ; Kinch's view, that it represents initial of win- ner, 136; associated with Ki- mon's signature on gold stater, 137 ; probably has an agonistic meaning, 138. .^Etna (Hieron's), Nemea at, 140. .iEtna-Inessa, now Santa Maria di Licodia. 24; hoard of "Medal- lions," &c., found on site of, 13 seqq. ; stronghold of Dionysian dynasty, 24 ; Campanian merce- naries stationed here by Diony- sios I., 24. .^Etolians, gold crown presented by, to Romans, 125, note. Agathokles, tetradrachms of, with copy of Evsenetos' Kore, 109, 110; reverse type of his tetra- drachms based on Kimon's quad- riga, 110 ; youthful head of Kore on his later coins, 1 10 ; his vic- tories over the Carthaginians in Africa, commemorated on his coinage, 130 ; trophy on his coins, with Carthaginian helmet, 130; " Pegusi ' ' of his time struck at Syracuse, 156. Agonistic contests, rewards, &c., see Games. dyuiv dpyvpiri]g, contest with money prize, see Games. dyiav dd\o6po, contest with ma- terial prize, see Games. Akanthos, lion and bull of, on Sy- racusan tetradrachm, by IM . . ., 147. Akragas, dekadrachms or " medal- lions " of, 42, 45 ; Kyiensean scheme of quadriga on tetra- drachms of, 62 ; A on deka- uracMns of, 136, 137, note, 133. Alexander the Molossian, Syracu- san bronze coins with head of Zeus Eleutherios referred to his time, 95, note. Ambrakians, gold crown presented by, to Romans, 126, note. Amenanos (river of Katane), head of, on coin by Evsenetos, 88. Antioch, apyvpoKoirtia of, fre- quented by Autiochos Epiphanes, 116. Antiochos Epiphanes, frequents dpyvpOKoirtia of Antioch, 116. Aphrodite, Knidian, on gem in- scribed KOPIN00Y, 119, note; of Eryx, associated with swastika, 108. Aplustre, or dd, games in- stituted in honour of, 11. A0AA, inscribed in exergue of "Medallions," 9, 133; written larger, above shield, on new " Medallion," 35, 135 ; probably means that coinage was origin- ally intended to serve as prizes in games, 133 seqq. Athenians, naval victory over, com- memorated on Syracusan tetra- drachm, 72, 131 ; their en- voys taken in by Segestans, 90, 91 ; victory over, by Geloan cavalry commemorated on coin, 130; defeat of, at Assinaros, commemorated by Syracusan "Medallions," 11, 81, 122 seqq., 141 seqq. Athens, gold wreaths offered in Akropolis of, 126. Avola, hoard of gold coins found near, 93, note. B. Baal-Chammam, symbol of, asso- ciated with head of Demeter, on Siculo-Punic and Carthaginian coins, 101, 108. Babelon, E., on coins of Mania and Dardanos, 75, note. Barthelemy, Anatole de, his re- marks on Belgic gold coins imi- tated from gold staters of Taren- tum, 109, note. Belgic gold types influenced by Carthaginian imitations of Erse- netos' Kore, 109. Bianchi, notorious coin-forger of Catania, 15 ; a work of, 14. Bockh, A., on Ddmareteion, 123, note ; on votive wreaths in Akro- polis at Athens, 126, note. British (Ancient) gold types, in- fluenced by Carthaginian copies of Evaenetos' Kore, 109 ; silver types derived from same through Armoric and Spanish interme- diaries, 113. Brunn's view as to Evaenetos' signa- tures controverted, 3, note. Byzantium, iron coinage of, 154. C. Cacopardi, Don Giuseppe, his ac- count of the Naxos hoard, 170 seqq. Caduceus on Siculo-Funic coin asso- ciated with head of Kore, 107. Cadurci (Quercy), coins of, 112, note, 113. Cales ware, 114, note; silver pro- totypes of, 114, note. Capua, lustrous black kylikes made at, with impressions of Evaenetos' " Medallions," 114 seqq. Carthage, " Camp-pieces " of, struck in Sicily, 26, 97 ; first issued at time of Carthaginian expedition of 406 B.C., 97, 101 ; free horse of, imitated from that on Syra- cusan gold pent ekontalitra, 97,98; used in payment of Campanian, INDEX. 203 &c., mercenaries, 97 ; inscriptions on, Machanat and Kart-Chada- sat, 98 ; half -horse on, imitated from gold litra of Gela, 98, 99 ; horse on, also to be regarded as religious emblem, 100, note ; " Camp-pieces," also current in Greek cities of Sicily, 154 ; some perhaps actually struck by Dio- uysios for his mercenaries, 155 ; in West Sicilian hoard, 165, 166. Carthage, early gold coins of, with head of Demeter, 101, 102; cult of Demeter and Persephone early introduced at, 102, note; pro- pitiatory cult of at, 26. Carthaginian invasion of 409 B.C., its effect on West Sicilian coinage, 64 seqq. ; invasion of 406 B.C. ori- ginates "Camp-pieces/' 97, 101. Carthaginian helmet on trophy of Agathocles, 130. Cavallari, Saverio, his theory as to occasion of Kim on* s "Medal- lions" controverted, 121. Chimsera, on coins of Himera, 182, note; volcanic mountain of Lykia, 182, note. Chronology of Svracusan coin- types, see Tetradrachms, &c. ; table illustrative of, 149, 150. Cilicia, Kimon's facing Arethusa copied on Satrapal coins of, 74. Cock on coins of Himera, canting badge, 173, 174, note, 182, note. Cockle-shell, symbol on Syracusan "Medallions" byEvsenetos, 16, 21,105; on Siculo-Punic coins, 107; on coin of Messana, 187 eeqq.; symbol of Nymph Pelorias, 188, 189. Cockles of Pelorian lakes famous, 189. Coin-engraving, true limits of the art observed by Sicilian en- gravers, 5, 6 ; principles of, com- pared with those of ancient sculpture, &c., 6. Contessa, find of coins at, see Hoards, West Sicilian. Corinth, staters of, see Pegasi ; sig- net gem of, with inscription KOPIN9OT, 119, note; It-th- mian games of, introduced at Syracuse, 140 ; financial and military base of Dion, 156. Crowns or Wreaths, honorary and votive, 124 seqq. ; Ddmareteion, coined from proceeds of hono- rary wreath presented by Car- thaginians to Geion's wife, 124 ; solid value of honorary gold wreaths, 125, 126. D. A on "Medallion" of Evsenetoa probably = A:a#paxjuoi>, 21, 105. Damareta, wife of Gelon, see Gelon and Ddmareteion. Ddmareteion, earliest silver " Me- dallion,' ' or dekadrachm, issued by Syracuse, 122 seqq. ; origin of name from Damareta, wife of Gelon, 122 seqq. ; according to one view struck from jewelry partly contributed by her, 123 and notes; Diodoros' statement that it was coined from value of gold wreath presented to Dama- reta by Carthaginians, 123, 124 ; called TrtvrijKOiTaXirpov, 124; weight of ten Attic drachma, 124; reference to, in SimonideY epigram, 127 and note ; couchant lion on, symbol of Apollo, 128 ; issue of, connected with Gamea in Apollo's honour, 129. Dardanos, coin of, falsely attributed to Mania, 75, note. Dekadrachms, see "Medallions." Demeter on early Carthaginian gold pieces, 101, 102; and Kore, tem- ples to, erected by Gelon at Syra- cuse, 126 ; violation of shrine of, by Himilkon, 26 ; (see too Perse- phone). Demosthenes, Athenian General, shields full of silver collected from his division, 132, 133. Dilitra, gold, struck at Gela, 63, note. Dindorf, on epigram of Simonidea, 127, note. Diobols, gold, 63, note. Diodoros on origin of Dumareteia, 123 and note, 124 ; on Geion's thankoffermgs, 126 seqq. Dion, successful expedition of, 357 B.C., 156, 157; makes Corinth his financial and military base, 156. Dionysios I. withdraws Campanian mercenaries to yEtna Inesaa, 24 ; 204 ISDEX. restores Herakleia Minoa to Car- thnginians, 25 ; his participation in Peace Congress of Delphi, 369 B.C., 110, note; Messenian, &c., imitation of Evsenetos' Kore re- garded as a compliment to him, 110, note; defeat of Carthaginians by,in393B.c., 122; violent finan- ' cial expedient of, 152 seqq. ; issues tin coinage, 153 155 ; his treat- ment of the Rhegians, 152, note, 167, 168 ; his colonial founda- tions on Adriatic coast, 156. Diptych, on tetradrachm of Kama- rina, with signature of Exakes- tidas, 197 seqq. ; on Syracusan tetradrachm, with signature of Eukleidas, 198. E. H, transitional use of for E, 59. Earrings, important bearing of forms of, on numismatic chrono- logy, 78 ; non-Syracusan forms used by Kimon, and their Cam- panian affinities, 78 seqq. ; with pyramidal globules on early Sy- racusan coins, 78 ; coiled type on Syracusan coins, 450-413 B.C., 78, 79 : shell-shaped, en coins by Phrygillos, and at Gela, 79 ; bar and triple pendant on "Medal- lion" of Evsenetos and later coins, 79 ; floral form of, on Ki- mon's early " Medallion," and its relation to lotos ornament, 79, 80 ; floral form of, on Cam- panian coins, 79, 80 ; at Segesta, 80 ; singlerdrop, on Kimon's coins, 80 ; found at Kyme, before 423 B.C., 80; common at Meta- pontion, 80, 81 ; "period of coiled earrings," 144. Eckhel, his view that Syracusan " Medallions " were prize-money, 9, 135. Elcutheria at Syracuse, 100. Elis, coins of, sculpturesque style of art, contrasted with that of Sicilian enuravers, 6, note. Emporise, Evsenetos' head of Kore imitated on coins of, 112; in- fluence of Emporian types on Iberic and Armoric coinages, 112, 113 ; on Ancient British, 113. Eryx, Temple Treasury of, 91 ; Swastika on coins of, 108 ; cap- ture of, by Pyrrhos, 130 ; memo- rial Games instituted by Pyrrhos in honour of Herakles, as slayer of its eponymous giant, 130; tetradrachms of, in the West [Sicilian hoard, 161. Eukleidas, Syracusan engraver, his facing head of Pallas, 73, 144 ; reproduced on glass disk, 115, note ; example of in great Naxos hoard, 145, 172; struck by 410 B.C., 145 ; its reverse type coupled with other obverses, 145, 146 ; tetradrachm of, with swan on Arethusa's ampyx, 86 ; wrong attributions of coins to, 189, note; signature of, on diptych, 198. Eumenes, head by, on tetradrachm, 40 ; influence of above design on Kore of New Artist, 40, 41 ; influ- ence of Eumenes' s tetradrachm types on Kimon's early " Medal- lions," 54, 55 ; true form of name Eumenes, and not Eumenos, 59, 60 ; Evaenetos and Eukleidas probably his pupils, 77 ; his Leu- kaspis imitated by Lokri Opuntii, 111; early use of new letter- forms by, 59, 144. Eumenes of Pergamos, gold crown presented by. to Romans, 125. Euth . . . Syracusan engraver, 60, 144; his quadriiras influenced by Kyrenaean models, 62, 63 ; par- allel designs at Selinus and Akragas, 61 ; his design imitated at Panormos, 61, 65, 67. Evfenetos, engraver of Syracusan "Medallions," &c., passim, first recognised as engraver by Due de Luynes and Raoul Rochette, 3 ; appreciations of his work by Lenormant, Poole, and Head, 4,5; Brunn's view regarding his signature controvprted, 3, 4, note; de.>cribed as " Pheidias of coin engraving," 4 ; new " Medal- lion" of, with signature in full, 8, 15, 22 ; his masterpiece com- pared with work of New Artist, 7, 27 seqq., 47 seqq., 104, 105; " Medallions " of, found in Santa Maria hoard, 19, 22 ; in West INDEX. 205 Sicilian hoard, 165, 169; de- velopment of style noticeable among ''Medallions" of, 21; period of his activity, 25 ; pro- bably pupil of Eumenes, 77 ; peculiar arrangement of reins adopted by, 33, 34 ; quadriga on his " Medallions " depicted as rounding the goal, 34; his "Medallion" type slightly later than that of New Artist, 39, seqq. ; concentration and modern- ness of style on his " Medal- lions," 8, 47, 48, 105 ; ingenuity of his designs, 49, 85, 86 ; his early tetradrachm copied on Kimon' s first " Medallion " type, 54, 57; his "Medallions" generally posterior to those of Kimon, 52, 53 ; his early tetra- drachm dates back to c. 425 B.C., 59 ; 2 already found on, 59 ; its gem-like fineness, 85 ; his signa- ture concealed on dolphin's belly, 86 ; Von Sallet on his early man- ner, 87 ; gap in his Syracuaan activity, 88 ; his Katansean and Kamarinajan works date from this period, 88, 89 ; his absence from Syracuse accounted for by Athenian Siege, 92, 93 ; re- appearance of at Syracuse cor- responds with date of peace with Katane, 93 ; hundred- and fifty- litra pieces now struck at Syra- cuse from his dies, 93 seqq. ; re- verse of his pentekontalitra imi- tated on Carthaginian " Camp Pieces,' ' 97, 98 ; absence of imita- tions of Evsenetos' Kore in West Sicilian hoard, 103 ; his " Me- dallion ' ' types not imitated on " Carthaginian " coinage of Motya and Panormoe, 103 ; his earliest gold staters approach in style his earliest "Medallions," 103, 104 ; date of his first "Me- dallion " issue, c. 406 B.C., 104; his latest " Medallion ' ' type bears full signature, EYAINETOY, 15, 22, 106; period of twenty years al- lowed for his "Medallion " types, 25, 106 ; his dies probably still used after his death, 106 ; his head of Kore, imitated on Siculo- Punic and Carthaginian coius, 107 seqq. ; its Carthaginian copies influence Gaulish and Ancient British types, 1 09 ; his head of Kore imitated on Syracusan coins to Hieron TI.'s time, 109, 110; imitated by Opuntian Lokrians, Pheneates, and Messenians, 110 and note, 111 ; on coins of Pherse in Thessaly and Knossos in Crete, 111 ; on coins of Kento- ripa, Metapontion, and Arpi, 111, 112; of Massalia, Rhoda, and Emporise, 112 ; from Rhoda and Emporise degenerate imitations of his head of Kore are trans- ferred to Iberic and Armoric coinages, and thence to Western Britain, 112, 113 ; impressions of Evsenetos' " Medallions" on Capuan Kylikes, 113 seqq. ; Evsenetos regarded as toreuta, 116; Gem with Herakles and Lion probably engraved by him, 117 seqq. ; no tetradrachms in Evsenetos' later style, 151; signi- ficance of this: issue of tetra- drachms had ceased when his "Medallions" were struck, 151; Syracusan hemidrachms by Evsenetos, 194. Evans, John, on signature of earlier Kimon, 176; on ornament on Belgic coin-types, 109, note ; on Ancient British coin-types, 113, note. Evarchidas, Syracusan engraver, 72, 144, 189 seqq. ; executes die in honour of naval victory over Athenians, 72 and note, 131, 190 ; wrong attributions of coins of, to Eukleidas and " Nouklidas," 189 and note ; reverse of hemidrachm attributed to, 195. Exakestidas, engraver at Kamarina, 73 note, 196 seqq. ; copies de- signs by Evsenetos, 73, note; forms of his signature, 196 ; new ex- ample with ESAKE* on diptych, 197, seqq. F. Freeman, E. A., on introduction of cult of the Goddesses at Carthage, in Gelon's time, 102, note; on 206 INDEX. local Sikeliote games, 140, note; 011 date of first Assinaria, 143. Friedlander, on date of Syracusan "Medallions," 9 note. G. Games, public, Syracusan " Medal- lions " in part used as prizes at, 128, 129, 133 seqq. ; Metapontine didrachm inscribed AX'^OJO atO- \ov, connected with local Games in honour of the Acheloos, 129, 134, 138 ; in honour of Poseidon, 129 ; instituted by Pyrrhos in ho- nour of Herakles after capture of Eryx, 130 ; those at which prizes were of material value, known as aydtv dQ\o6poe, 139 ; wild olive wreath sole prize at Olympian Games, 139 ; money prize given at Athens to Olympic victors, 134; tripods, cauldrons, &c., prizes in Games in honour of Patroklos, 139 ; silver cups and bronze vessels prizes at, 139; Four Great Games of Greece with- out material rewards, 139 ; arms given as prizes at Hecatomb&a of Argos, 139 ; arms and silver drachmae given at military Games of Keos, 134, 140 ; arms, money, &c., as prizes of Games in ^Eneid, 139, note; local Games of Sike- liote Greeks, 140 and note, 141 ; Nemea at JEtna, 140 and note ; Isthmia&t Syracuse,140 andnote; Eleutheria at Syracuse, 140 and note; Assinaria at Syracuse, 141 seqq. (see Assinarian Games) ; panoplies of Athenian hoplites a prize at, 141. Gardner, Prof. P., on " Medal- lions " by Kimon and Evaenetos, 3, note; on signature of earlier Kimon, 175; on progressive sen- sationalism of quadrigas on Sici- cilian coin-types, 185, note; on signature of later Kimon on coins of Messana, 187. Garrucci, his work on coins of an- cient Italy criticised, 78, note. Gela, Kyrensean scheme of quad- riga on tetradrachm of, 62, note ; gold litras and dilitra struck at, t>3, note ; gold litra of, imitated on Carthaginian " Camp Pieces." 99, and note ; gems representing . civic types of, 119, and note; didrachm of, commemorating Athenian defeat, 130. Gelon requires Carthaginians to build two temples, probably of Demeter and Persephone, 102 and note; in alliance with Theron of Akragas, defeats Carthagi- nians at Himera, 122; his wife Damareta, 1, 122 ; builds two votive temples to ' ' the God- desses" at Syracuse, 126; votive gold tripod set up by, to Apollo, in Delphic Temenos, 126; Si- monides' epigram on, 127. Gem, ancient (from near Catania), representing Herakles and lion, as onEvasaetos' gold staters, 117, 118. Gems (ancient), representing civic types, 118, 120; official character of, 118, 120 ; Examples from Gela, Selinus, Corinth, Neapolis, &c., 119, 120. Gem-engraver, his craft combined with that of die-sinker, 117; Phrygillos, probably Syracusan coin-engraver, 117 ; Evsenetos also to be regarded as, 117 seqq. Gold coinage, Sicilian, 63, note ; nee Litras, Dilitra, &c. ; Kyrenasan, 62, 63 ; silver value of small Sicilian gold pieces, 63, note ; Syracusan hundred- and fifty- litra pieces by Kimon and Evae- netos, 82, 83, 93 seqq. ; struck after Athenian defeat, 93 ; gold pentekontalitra imitated on Car- thaginian ' Camp Pieces," 97, 98. Griffin, head of, on Syracusan "medallions," 16; on Sicuio- Punic coin, associated with head of Kore, 107. H. Hannibal, son of Giskon, his expi- atory sacrifice at Himera, 183. Havercamp, on Kimon, 3, note; connects "Medallions" with Timoleon's defeat of Carthagi- nians, 9. Head, B. V., his appreciation of Evaenetos' "Medallion," 4, note; INDEX. 207 on date of Syfacusan ' ' Medal- lions," 10 ; on "Medallion " with Evaenetos' signature, 22, note; on signature of earlier Kimon, 175; his explanation of pellets on Syracusan gold staters, 94, note ; on democratic character of type on Syracusan gold staters, 96, note ; on imitations of Evae- netos' Kore by Opuntian Lok- rians, Messanians, &c., 110, note ; on pistrix on Syracusan coins of Hieron I.'s time, 130, note ; on tetradrachm, signed IM . . . show- ing Ionian device, 147, note ; on first issue of " Pegasi " by Syra- cuse, 156 and note; on large bronze coins of Kentoripa, 159, note. Hekatombcea, Games at Argos, arms given as prizes at, 139. Helmet in panoply on new " Me- dallion," its ornamental features, 35 ; of prostrate warrior on Ge- loan coin, probably Athenian, 130 ; Phrygian, of horseman on Geloan coin, 130, note ; Tyrrhe- nian, from spoils of Kyme, dedi- cated to Zeus by Hieron I., 130, note; Carthaginian, of trophy on Agathokles' coins, 130. Herakleia Minoa (Rash Melkart) restored to Carthaginians by Dio- nysios I., 25 ; coins of, copied Irom Evaenetos' "Medallions," 25, 107. Herakles, facing head of, on hemi- drachms of Selinus, 73 ; stran- gling lion, on Syracusan gold staters, 95 ; this type used as fe- deral symbol, 96 ; reproduced on gem, probably by Evaenetos, 117 seqq. ; games in honour of, insti- tuted by Pyrrhos on capture of Eryx, 130. Hermokrates, his recovery of the site of Himera, 184. Hesychios on the Ldmareteion, 123 and note. Hieron I., his sea victory off Kyme recorded on coins, 129, 130 ; Tyrrhenian helmet, dedicated to Zeus by, 130 note. Hieron II., Eveenetos' Kore imi- tated on bronze pieces of, 110. Hiketas, Evaenetos' Kore imitated on gold coins of, 110; makes Leontini his rallying point against Timoleon, 157. Himera, sea-horse of Panormitan types imitated on latest tetra- drachm of, 65 ; chronological value of latest coins of, 65, 66 ; bronze hemilitron of, with head copied from facing Arethusa of Kimon's tetradrachms, 70, 145 ; Carthaginians defeated at, by Gelon and Theron, 122 ; tetra- drachm of, with signature of earlier Kimon, 173 seqq. ; cock canting badge of, 173, 182, nott ; hot baths of (Thermae Himer- enses), commemorated by its coin- types, 174, 177, 178 ; eponymic Nymph of, on its coins, 174, 176 178,180 183; coinage of , un- der Theron and Thrasydaeos, 176; engraver Mai ... at, 180 seqq. ; late tetradrachm of, with reverse imitated from one of Evaenetos, 180 seqq. ; various forms of in- itial letters in civic inscription, 181 seqq. ; form KIMAPA con- nected with Chimaera, 182 and note ; name connected with vol- canic forces, 182, note ; Himera utterly destroyed by Carthagi- nians, 409 B.C., 183, 184 ; Han- nibal, son of, Giskon's sacrifice at, 183. Himilkon violates shrine of "God- dess" at Syracuse, 26. Hoards : of Santa Maria di Licodia (JEtna-Inessa) "Medallions," &c., 13 seqq. ; materials for date of, 23, seqq. ; West Sicilian (Contes- sa), silver coins, Greek and Siculo- Punic, 64 seqq., 102, 103, 145, 160 seqq. ; materials for date of, 167, 169 ; of Avola (gold Syra- cusan, &c., coins), 93, note ; other recent hoards from near Avola, 93, note; of Naxos, 145, 152, 170 seqq. ; unsatisfactory accounts of, 170 seqq. ; composition of, 145, 152, 170 seqq. ; date of de- posit of, 145, 152, 171, 172; of Reggio, 170 seqq. ; of Messina, 170, .seqq. ; of Noto, 170 stqq. Hoards ot coins, classes of, distin- guished, 26. Holm, A., on didrachm of Gala, 208 INDKX. commemorating Athenian over- throw, 130 ; on date of first A- sinaria, 143. Hultsch, F., on the Damareteion, 122, note; on weight of vtvrr\- covrdXtrpoj/, 124, note ; on Sici- lian gold talents, 125, note; on goldsmiths' talents, 126, note, 127, note; on weight of Gelon's gold tripod, 127, note. I. IATON, inscription on didrachm of Himera, 177, 182. IM . . ., artist's signature on Syra- cusan coins, 147 ; tetradrachm, inscribed, attributed to Ionian artist, 147 ; signature of, associ- ated with that of Kimon on drachm, 77, 179. Inessa, see JEtna-Inessa. Ionian style of Syracusan tetra- drachm, signed IM . . ., 147. Iron coinage of Byzantium, 154. Isthmian Games at Syracuse, 140. Isokrates, reference to panoply pre- sented to his father, 138, note. K. Kamarina, Kimon's facing Are- thusa imitated at, 70 ; facing head of Hipparis on didrachm of, by Evaenetos, 73, andwote, 88, 89, 194, 196; Exakestidas, engraver at, 73, note, 196 seqq. ; Nymph and swan of, on gem, 119; youth- ful Herakles on coins of, 197 ; Athena on coins of, 197 ; Syra- cusan influence on dies of, 198, 199. Kart-Chadasat, Phoenician inscrip- tion, see Carthage. Katane, coins of, by Evsenetos, 88 ; peace between Katane and Syra- cuse concluded, 409 B.C., 93. Kentoripa, Evaenetos' Kore, copied on large bronze coins of, 111 ; these coins earlier than Timo- leon's time, 159 ; head of Kore on them overstruck on Syracusan coin with head of Pallas, 159. Keos, military games of, money prizes at, 134, 140. KIMAPA, inscription on coin of Himera, 182 ; connected with Chimsera, 182, note. Kimon, the earlier, signature of, on tetradrachm of Himera, 175 seqq. ; his signature the earliest known, 176 ; appears before c. 450 B.C., 176, 177 ; per- haps grandfather of the later Kimon, 178, 179. KIMON, signature on tetradrachm of Himera, 175. Kimon (the later), engraver of Sy- racusan " Medallions," &c., pas- sim; first recognised as engraver by A. Von Steinbuchel and Payne Knight, 3, note; Havercamp on name, 3, note ; appreciation of his work by Lenormant and Poole, 4 ; his treatment of Arethusa's hair compared with that of Sicilian ter- racottas, 5. note ; "Medallions" of, found in Santa Maria hoard, 19, 20 ; in West Sicilian hoard, 165, 169 ; three main types of these distinguished, 20 ; approximation to KimOn's style on new " Medal- lions," 37 ; Weil's view that Ki- mdn's " Medallions " were later than those of Evsenetos combated, 52, 53 ; his type in low relief earliest of all Syracusan "Me- dallions," 51 ; this first " Medal- lion" type based on earlier .tetra- drachms by Evsenetos and Eume- nes, 54, 55 ; its parallelism with coin of Segesta struck c. 415 B.C., 55, 56 ; Syracusan tetradrachms based on this type, 57, 58 ; Ki- mon's first " Medallion " type struck shortly after415 B.C., 58 ; its issue corresponds with institu- tion of Assinarian Games, 81 ; his " Medallion " types I. and II. imitated at Panormos 65 seqq., 81, 82 ; his masterpiece, the tetra- drachm with facing head of Are- thusa, imitated at Motya, Kama- rina, and Katane, 69, 70 ; copied on bronze htmilitron of Himera before close of 409 B.C., 70, 145 ; facial type of this tetradrachm re- produced on Kimon's latest " Me- dallions," type III., 71, 82, 83 ; his facing Arethusa copied at La- rissa, and on staters of Satraps of INDEX. 209 Ciliciii, 74 and note ; Kimon's Arethusa itself, derived from Neapolitan prototype, 75 ; his Chalkidian and Campanian con- nexion, 76 seqq., 179 ; probably grandson of the homonymous Himersean artist, 77, 178; exe- cutes dies for Messana, 77, 186 seqq. ; his Messanian dies earlier than his Syracusan, 188 ; isolated position of Kimon among Syracu- san engravers, 77, 179 ; signature of, on didrachm of Metapontion, 78 ; his use of non-Syracusan and specially Campanian forms of earrings, 78 seqq. ; his earliest gold hundred-litra pieces syn- chronize with his "Medallion" type II. 82 ; his later gold staters with type III., 83 ; date of Ki- mon's latest ''Medallion" dies, 83, 84 ; his signature associated with A on gold stater, 137 ; no tetradrachms issued in style of his latest " Medallions," 151. Kinch, on the Elymian language and the legend IIB at Segesta, &c., 65, note; his view, that signatures on Sicilian coins refer to winners in the games refuted, 136 and note, 137, 138, note. Knossos, in Crete, Evsenetos' Kore imitated on coins of, 111 Kore, see Persephone. KOPIN00Y, inscribed on gem ; Corinthian signet, 119, note. Krimisos, River-god, on coin of Segesta, 90, 91. Kyane, Nymph, head on Kimon's " Medallions," referred to by Cavallari, 121 ; defeat of Cartha- ginians in neighbourhood of her shrine, 121. KyUJces, of Capuan ware, with im- pression of Evaenetos' ' ' Medal- lions," 113 seqq. ; copied from silver cups set with original coins, 113, 116; silver from Pan- tikapseon, 114, note. Kyme, fall of, in 423 B.C., numis- matic landmark, 76. Kyrene, influence of gold staters of, on quadrisja types at Seliniis, Akragas, Grela, and Syracuse, 62, 63 ; gold litras of, due to Sicilian influence, 63, note. L. Larissa, Kimon'e, facing Arethusa, copied on coins of, 74 and note. J-ie&keonD&mareteion, 122; on value of Sicilian t>old talent, 125, note. Lenormant, F., on works of Kimon and Evsenetos, 4. AEONTINON on "Pegasi" of Leontini, 175. Leontini, lion on coins of, symbol of Apollo, 128 ; "Pegasi" issued by, with legend, AEONTINON, 157 ; referred to date of Dion's expedition, 157, 158 ; Leontini, head -quarters and rallying-point of Dion, 157; its"Pegasi" at- test monetary alliance with Syra- cuse, 157, 158 ; different part played by Leontini at time of Timoleon's expedition, 157, 158 ; rallying-point of Hiketas, 157, 158 ; annexed to Syracuse and inhabitants transplanted, 157. Lesbos, potin coinage of, 153. Leukas, " Pegasi" of, in West Si- cilian hoard, 152. Litras, gold, struck at Gela, 63, 99, and note ; Kyrenaean, due to Sicilian influence, 63, note. Lbbbecke, A. , his account of Avola hoard, 93, note, 137 and note. Lokri Opuntii, imitations of Evse- netos' s Kore on coins of, 110 and note ; subsequent to Peace of Antalkidas, 110, note; Ajax on coins of, copied from Leukaspis of Eumenes, 111. Luynes, Due de, on engravers' sig- natures, 3, note ; views as to date of *' Medallions," 9 ; on arrange- ment of reins on Evaenetos' " Me- dallions," 34, note; erroneous attribution of, to Mania, 75, note ; his comparison of gold staters of Kimon and Evsenetos, 94, note ; on the D&mareteion, 123, note. M. Machanat, Phoenician inscription, see Carthage. Maenad, head of, in centre of Hel- lenistic silver bowl, found at Taranto, 114, note. MAI . . ., signature of engraver on 210 INDEX. late tetradrachm of Himera, 180 seqq. Mallos, alliance piece, with Tarsos, exhibiting Herakles and lion, 96. Mania, wife of Zenis, Satrap of -Solis, coin wrongly attributed to, 75, note. Massalia, Artemis on coins of, based on Evaenetos' head of Kore, 112. Mazseos, Satrap of Cilicia, coins of, 74, note. "Medallions" of Syracuse, passim (see too Evaenetos and Kimon) ; term used for silver dekadrachms and pentekontalitra, 1 ; current coins not medals, 2 ; earliest, see Ddmareteion ; engravers of, Ki- mon and Evaenetos, 3, &c. ; great find of, at Santa Maria di Lico- dia, 7, 13 seqq., &c. ; new type discovered in Santa Maria hoard (see ''Medallion," by Xew Art- ist) ; various views as to occasion and chronology, 9, 11 (see also under Kimon and Evsenetos) ; revival of, at time of Athenian defeat, 121 seqq., 131 seqq., 141 seqq. ; cracked and oxydized state of many of the dies of, 20, 25, 155 ; evidence of use at a time when the dies were no longer engraved, 25, 155; rela- tion of heads on to earlier tetra- drachm types, 40, 41 ; impressions of, on glazed-ware imitations of silver cups, 113 seqq. ; partly coined out of silver bullion taken from Athenians, 133; may have partly served as actual prizes of Games, 133 seqq. ; chronological results regarding, reviewed, 144 seqq., 155. "Medallion," Syracusan, by New Artist, passim, transcendent beauty of work, 7 ; described, 27 seqq. ; style of, different from that of Evsenetos, 27, 36 ; hair of Kore on, more flowing, 30, 41 ; her severer yet finer profile, 29, 47 ; different position of inscrip- tion on obverse, 29 ; quadriga on, grander and more harmo- nious, 31, 32, 42 ; angle of monu- ment behind, perhaps judges' stand, 32, 33 ; panoply in exergue grander and differently arranged, 35, 36 ; accompanied by inscrip- tion A0AA in large letters, 35 ; traces of monogram or signature on, 36 ; its approximation to Kimon' s style, 37 ; distinct, how- ever, from Kimon's types, 38 ; evidences of slight anteriority to Evaenetos' " Medallions," 39 seqq. ; treatment of horses' manes on, 42 ; comparatively low relief of, 44 ; large module of, 45 ; low weight of, 45, 46 ; reverse of, apparently from earlier die than obverse, 46, 47 ; reverse perhaps originally coupled with earlier version of head of Kore, 47 ; de- tails less subordinated to central design than on Evsenetos' "Me- dallions," 47, 48; naiveness and uniformity of quadriga, 48, 49 ; combines the monumental and the picturesque, 42, 50 ; compared with medals by great Italian masters, 50 ; probably represents an actual prize in Games, 135. Messana, tetradrachms of, by Ki- mon, 18, 19, 77, 186 seqq. ; head of Xymph Pelorias on tetra- drachms of, 186 seqq. ; ditto on Messanian drachms and bronze coins, 188. Messene, imitations of Evaenetos's Kore on coins of, struck on Mes- senian restoration of 369 B.C., 110, note; adoption of Evaene- tos' type at, due to old Mes- senian cult of Persephone, 110, note. Messina, hoard found at, 170 seqq. Metapontion, didrachm of, with Kimon's signature, 78 and note ; earring of single drop, common on coins of, 80, 81 ; didrachm types of, influenced by Evsenetos' Kore, 111 ; didrachm of, in- scribed A^tXcito at9\ov, 129, 134, 138. Middleton, Prof. J. H., on signa- ture of earlier Kimon, 176 Mirabella, Don Vincenzo, on " Me- dallion" of Kimon, 8 note. Montagu, H., Syracusan gold coins in his cabinet, 93. Motya, Hellenization of, 64 ; influ- ence of Carthaginian invasions INDEX. 211 on coin types of, 64 seqq. ; Semi- tic legends now introduced at, 64 ; coins of, in West Sicilian hoard, 67, 68, 103, 163; Kimon's head of Arethusa, copied at, 19, 67, 68 ; bronze coins of, from island of S. Pantaleo (site of JVlotya), 68, note; supplies chronological landmark for Kimon's Syracusan coin types, 69, 121 ; des'royed by Dionysios 397 B.C., 69, 1*21 ; tin for Dionysios new coinage, probably obtained from loot of, 153. Miiller, C. 0., on the Ddmareteion, 123, note. N. Naxos, Sicily, great hoard dis- . covered on site of (Schiso), 152, 170 seqq. ; coins of, 171. Neapolis (Campanife) three-quarters facing head of Nymph, on coins of, model of Kimon's Arethusa, 75, 76 ; floral form of earring on coins of, 80 ; gem representing civic type of, 120. Nemean games at Hieron's .ZEtna, 140. New Artist, see " Medallion " by. Nike on "Medallion" by New Artist, 32 ; on stand, or cippus, as umpire, 33 ; flying Nike on Syra- cusan "Medallions," 146; head ol' flying Nike on Syracusan tetradrachm, 146 ; winged, on coins of Terina, 147, note. Nikias, shield of, 141, 142. Noehden on Syracusan ' ' Medal- lions, " 9. Noto, hoard discovered near, 170 seqq. O. Q, already found on Evsenetos' early tetradrachms, 59 ; on coins of Syracuse, Thurii, and Kaulonia, c. 440 B.C., 59, 148 ; at Tarentum c. 450 B.C., 148 ; transitional use of for O, 60. Obols, gold, 63, note, Ogmios, mistaken identification with, on Gaulish coin, 112, note. Oxford, ancient British coin types found near, remotely derived from Evsenetos' Kore, 113. P. Pallas, head of, in olive-wreathed helmet, on large bronze coins of Syracuse, 159. Panoply, full hoplite accoutrement, prize of military valour, 138; Isokrates' reference to, 138, note; on exergue of Syracusan " Me- dallions," 35 ; on New " Medal- lion," larger, 35 ; accompanied by inscription, A0AA, 35 ; new arrangement of, 36 ; view that panoply implies a direct reference to victory in war, 8 ; to be rather regarded as prize of Games, 9, 50, 132, 139 ; represents Athenian arms taken at Assinaros, and forming prize in Assinarian Games, 132 ; panoply of Nikias, 141; panoplies of Athenians hung on trees beside As.-inaros, 142 ; taken from Carthaginians, on Agathokles' coins, 130. Panormos, Hellenization of, 64 ; influence of Carthaginian inva- sions on coin types of, 64 seqq., 97 ; coins of, in West Sicilian hoard, 65 seqq., 102, 103, 166 ; Phoenician legend Ziz, referred to Panormos, 65, andnott, 107, 108 ; reverses of Syracusan tetra- drachms by Euth . . . imitated at, 65 seqq. ; Arethusa of Kimon's " Medallions " copied on tetra- drachms of, 65-67 ; didrachm of, imitated from gold pentekon talitra of Syracuse, 98 ; Swastika, or Crux Gammata, on coins of, 108 ; Evsenetos' Kore imitated at, 107, 108; Salinas' suggestion that a Phoenician tetradrachm of Pan- ormos bears Kimuu's signature, 166, 180, note. Parme . . . Syracusan engraver, coin of, 193, 194. Paros, type of drachmae of, referred to by Simonides, 127, note. Parthenope, head of, on Neapolitan coins, 75, 76. Payne Knight on Syracusan "Me- dallions, 3 note ; connects their issue with Dionysios I. and II., 10. "Pegasi," or Corinthian staters, current at Syracuse, &c., 12, 212 INDEX. 152 ; of Leukas in W. Sicilian hoard, 152 ; issue of, by Syracuse in her own name, 12 ; various views as to date of first issue of at Syracuse, 156 ; brought into connexion with Dion's expedi- tion, 12, 156 seqq. ; struck at Leontini in Dion's time, 157 ; alliance pieces of Syracuse and Leontini, 157, 158. ITEAQPIA^, inscription on coin of Mes^ana, 186 seqq. Pelorias, Nymph, head of. on tetra- drachm of Messana, 186 seqq. ; on drachms and bronze coins of Messana, 188 ; personification of Capo del Faro, 186; her attri- butes, cockle-shell and ear of corn, 188, 189 ; her hair at times wreathed with corn, 188. Peloros (Capo del Faro), 186. Pentekontalitra, silver, see " Me- dallions " and Ddmareteion; Gold, see Gold Coinage. Persephone on Syracusan " Medal- lions," 2, &c. ; depicted as God- dess of Spring, 2 ; otherwise De- meter Chloe, 2 ; portrayal of, by New Artist, 27 seqq. ; violation of shrine of, by Himilkon, 26 ; propitiatory oult of, with Deme- ter at Carthage, 26 ; her cult already introduced at Carthage in Gel on' s time, 102 ; Evsenetos' head of Kore imitated on Siculo- Punic and Carthaginian coins, 107 seqq. ; symbols with which it is associated on these, 107 ; ancient cult of, at Messene, ex- plains adoption there of E vaenetos' head of Kore, 110, note; metamor- phosed into Demeter, 108, 111; metamorphosed into Artemis, 112 ; and Demeter, temples to, erected by Gelon at Syracuse, 126 ; as charioteer holding torch, 131 ; naval spoils offered to, 131 ; appropriateness of her connexion with coins commemorative of the Athenian defeat, 143. Petrocorii (Perigord), coins of, 112, note, 113. Pharnabazos, Satrap of Cilicia, coins of, 75, note. Pheneates, imitations of Evaene- tos' Kore on coins of, 111. Pheras, in Thessaly, Evrenetos' Kore imitated on coins of, 111. Philistos, General of Dionysios II., 157. Phistelia, facing head of Nymph on coins of, 76. Phrygian helmet worn by Geloan horseman, 130, note. Phrygillos, Syracusan engraver, 72, note, 144 ; collaborates with Evarchidas, 72, note, 131, 191 seqq. ; gem engraver, 117 ; ob- verse of hemidrachm attributed to, 195. Pindar on Sikeliote games, 140, and note. Pistrix on Syracusan tetradrachms, reference to naval victory of Hieron off Kyme, 129, 130. Plutarch, his account of shield of Nikias, 141 and note; on Assi- narian Games, 142, 143. Plymouth, Ancient British coin types found near, remotely do- rived from Evaenetos' Kore, 113. Pogwich, Padre, his account of the Naxos hoard, 170 seqq. Pollux, J., on the Ddmareteion, 123 and note. Poole, Prof. R. S., on engravers' signatures, 3, note; on Ionian style of Syracusan tetradrachm signed IM, 147 ; on signature of earlier Kimon, 175. Poppy-head on Siculo-Punic coin associated with head of Kore, 107. Prokles, his signature on drachm of Katane, 136, note. Ptolemy Philadelphos, votive crown of his reign, weighing 10,000 gold staters, 126, note. Q. Quadrigas on coins, passim ; pro- gressive development of sensa- tionalism in, 185 and note, 192, 193 ; compared with those on painted vases, 185. R. Raoul Rochette on engravers' sig- natures, 3, note ; on first issue of " Pegasi " by Sjracus , 156. INDEX. 213 Reggio, hoard found nt, 170 seqq. Reins, peculiar arrangement of, adopted by Evsenetos, 33, 34 ; devised for rounding the goal, 34 ; usual arrangement of, on Syra- cusan coins, &c., 34 note; broken and trailing, on tetradrachm of Evaenetos, 86. Rennes, patera of, 116. Rhegians plundered! and enslaved by Dionysios I., 153, note, 167; coins of, in West Sicilian hoard, 160, 167, 168. Rhoda (Spain), Evaenetos' head of Kore imitated on coins of, 112 ; influence of Rhodan types on Iberic and Annoric coinages, 112, 113 ; on Ancient British, 113. Riccio, his account of the Naxos hoard, &c., 170 seqq. Romano, Padre Giuseppe, on Syra- cusan "Pegasi," 156; on the Naxos hoard, 170. S. Salinas, A., on tetradrachms by Evarchidas, 72, 189 seqq. ; his view that these commemorate naval victory over the Athenians, 72, note, 131; on clay impressions of seals found at Selinunto, 119 and. note; on West Sicilian hoard, 160 seqq. ; on tetradrachms of Rhegion, 152, 167 ; his attempt to recognise Kimon's signature on Phosnician tetradrachm of Panormos, 180, note. Sallet, A. Von, on engravers' signatures, 3, note; views as to date of Syracusan engravers, 9 ; on "early manner" of Evaene- tos, 87. Santa Maria di Licodia, hoard of " Medallions," &c., discovered at, 13 seqq. ; the ancient .ZEtna- Inessa, 24. Saulcy, F. de, connects Phoenician legend Ziz with Panormos, 65, note. Sea-horse on coins of Panormos, 65 ; substitute for Skylla on their Syracusan prototypes, 65 ; on late tetradrachm of Himeia, 65. Segesta, tetradrachm of, with head based on Arethusa of earlier Syracusan pieces by Eumenea and Evasnetos, 55, 89, 90 ; paral- lelism of this coin with Kimon's first "Medallion" type, 56; I IB on coins of, 65, note ; floral form of earring on, 80, 90 ; im- pression of Evsenetos' style on, 89, 92 ; tetradrachms of, part of parade to take in Athenians, 90, 91 ; tetradrachm of, in West Sicilian hoard, 163. Seilen, bathing, on coin of Himera, 17^ 177. Selinus, tetradrachm with reverse presenting new variety, 19 ; Kyrenaean quadriga type on coins of, 61-63; hemidrachms of , with facing head of Herakles, 73 ; impressions of civic signets found on site of temple at, 119, and note; incuse A on coins of, 138 ; sensational scheme of quadrigas on late hemidrachms of, 185. Shield of Nikias, suspended in Syracusan temple, 141 ; its ' enamelled ornamentation, 141, 142. Shield, see Panoply. Shields full of silver coins collected from Athenian prisoners, 132, 133. Siculo -Punic coinage, see Carthage, Panormos, Motya, &c. Sidareoi or iron coins of Byzantium, 154. Signatures, see Artists'. Signets, Official, see Gems. Silver money taken from Athenians by Syracusans, 132, 133; large amount of, 133. Silver plate imitated in metallic- glazed pottery, 113 seqq. Silver, proportional value of, to gold, 63, note, 124, 125, note. Simonides of Keos, his epigram in- scribed on Gelon's votive tripod, 127 ; criticisms on, 127, note; his epigram referring to Parian drachms, 127, note. Six, J. P., suggestion as to tin of Dionysios' coinage, 153 ; his at- tempt to identify large bronze coins of Syracuse with Dionysios' tin coinage, 154, note ; earliest Syracusan Pegasi referred by, to Dionysios I.'s time, 156. 214 IXDEX. S6si6n, Syracusan engraver, use* Q in signature, 59, 148, 188 ; early date of, 144. Star, eight-rayed, symbol on Syra- cusan " Medallions " by Evse- netos, 16 ; on gold Btatera byEvae- netos, 95. Steinbiichel, A. von, first to recog- nise engravers' signatures, 3, note. Swastika, or Crux Gammata, on coin of Panormos' associated with head of Kore, 107 and note, 108 ; on earlier coins of Panormos, 108 ; on coins of Eryx, associated with cult of Aphrodite, 108. Symbols associated with head of Kore on Siculo-Punic coins, 107. TPAKOION on early "Pegasi" of Syracuse, 157, 169; this ar- chaic form, why preserved, 158, 159. ' *YPAKO*IO, regarded as trar- sitional form of inscription, 23. Syracuse, see "Medallions," &c., passim ; defeat of Carthaginians at Himera by troops of, under Gelon, 122 ; Damareteian coinage a record of this, 122 seqq. ; naval victory of, off Kyme, commemo- rated on its coins, 129 ; siege of by Athenians, 92, &c. ; naval victory in its Great Harbour over Athe- nians, commemorated on coins, 72, 73 and note, 131 ; final defeat of Athenians by, in gorge of As- sinaros, 122, 141, 142 ; Games at, Isthmla and Eleutheria, 140 ; institution of Assinaria and com- memorative coinage, 11, 81, 132, 141 seqq. ; cult of Zeus Eleuthe- rios introduced at, 95, 140 and note; symbol of Democracy at, 95, 96 ; temples to Demeter and Kore erected at, by Gelon, 126 ; coinage of , radical revision necessary in its chronology, 144 seqq. ; chrono- logy of coin-types of, illustrative table, 149, 150 ; silver coinage of, perhaps temporarily inter- rupted, 155 ; evidence of mone- tary alliance with Leontini, 157, 158. Syracusan Tetradrachms, of period of signed coinage, 144 ; new chronological arrangement of, necessary, 144 seqq. ; " period of coiled earring" in, 144 ; cease to be issued, c. 400 B.C., 12, 151, 152; none struck in style of Evae- netos' "Medallions," 150, 151; none struck in style of Kimon's latest " Medallion " type (III.), 151 ; significance of this ; issue of tetradrachms had ceased by time these " Medallions " were struck, 151 ; cessation of their issue connected with financial expedients of Dionysios I., 161 seqq. ; of tin, issued by Dionysios I., 153-155. T. Talents, different meaning attached to them, 124; small Attic Talents, 124; Sicilian gold Talents, 124, 125, and note. Tarentum, Coin-engravers of, 4 note ; gold staters of, imitated on Belgic coins, 109, note ; Hellenis- tic silver bowl found at, 113, note; Q introduced at c. 450 B.C., 148. Tarkamos, Satrap of Cilicia, coins of, 75, note. Tarraco, gold crown offered in Temple of Jupiter at, 125. Tarsos, alliance piece, with Mallos, exhibiting Herakles and lion, 96. Terina, Nike on coins of, 33, 146, note. Tewkeebury, Ancient British coin types found near, remotely de- rived from Evaenetos' Kore, 113. Therma, or Thermae, new town founded by Carthaginians on site of baths of Himera, 184 and note; coins of, 184. Theron of Akragas conquers Hi- mera, 176. Thrasydseos, son of Theron, domi- nation of, at Himera, 176. Thucydides, his account of the shields full of silver money taken from the Athenians, 132, 133. Thurii, civic bull of, reproduced on gem, 120. Thymiaterion on Siculo-Pnnic coin associated with head of Kore, 107. Timoleon, Evaenetos' Kere imitated on Syracusan bronze coins of his INDEX. 215 time, 109 ; first issue of Syracu- san " Pegasi " erroneously re- ferred to him, 156 seqq. ; Leon- tini head-quarters of Hiketas against Timoleon, 157, 158 ; his capture of Leontini, 158 ; large bronze coins of Kentoripa earlier than his time, 159. Tin tetradrachms issued by Dionysios I., 153 155 ; perhaps derived from sack of Motya, 153. Topivrffg, art of, connected with die-sinker's, 116 and note; Evse- netos regarded as, 116. Tripod, votive, of gold, offered by Gelon to Delphic Apollo, 126 Beqq. ; Simonides' epigram on, 127 and note; weight of, 127 and note, 128. Trophy, tee Panoply. V. Vase-painting, analogies of, with coin engraring, 177, 178 and note, 185. Vau, form of, on coin of Himera, 182, 183 and note. Volcse Tectosages, coins of, 112, note. Vulci, polychrome Amphora found at, representing bathing women, 178. W. Weil, Dr. Eudolf, on signatures of Kimon and Evsonetos, 3, note; his view that Kimon' s " Medal- lions" are later than those of Evasnetos combated, 52, 53 ; his suggestion that Syracusan en- graver Euth . . . was a refugee from Selinus or Akragas, 61 ; on perspective rendering of fac- ing heads, 73 and note; regards A on Akragantine, &c., coins as art- ist's signature, 136 and note; on tetradrachm of Himera with re- verse copied from Syracusan type of Evaanetos, 184 and note, 185. Winckelmann's appreciation of Sy- racusan "Medallion" types, 2. Wreaths, honorary, tee Crowns. X. Xenophon of Corinth wins prize at Nemea of Hieron's .ZEtna, 140. Z. Zakynthos, starting-point of Dion's expedition, 156. Zeus Eleutherios, cult of, intro- duced at Syracuse in 466 B.C., on expulsion of Thrasybulos,95, note, 140 and note; a type of the Syra- cusan Democracy, 95, 96; Games in honour of, Eleutheria, 140 (set Games) ; colossal statue erected to, at Syracuse, 140. Ziz, Phoanician inscription, see Pa- normos. PRINTED BY J. 8. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON. Evmenes LaleTransitional [Syr.] Evaenetos 'Syr. Segesta Kimoa : Rrst 'Medallion' Type. : ;<* \ - W E-W'^M Pcmormos, imitated from Kimon.Type PLATE I. KIMONS FIRST MEDALLION TYPE AND I LLUSTRATIVE COI NS Kimon. Gold Stater as TypeH Kimo a , Te trad rachm as Typell Kimon. Gold Staters f Later; Motyar Imitations of Kimon's Typefl Kimoa, Medallion' Type f K TI DidracKms of Neapolis PLATE H. KIMON'S LATER 'MEDALLIONS' AND I LLU SIR ATI VE CO I MS. - y^ f|-; ->a -m-r, \ f^S^ ^ f^jfe r ? -* l^'' 1 | ^ ^ 4- v -r^ x^" ^T'nrir^V^ 5 Tetradracltms by Kimon wilh Fncmq Head ot'Arethusa PKistelia Motya Didrachm. Mot^T M M lya Dldrach ^ [TKcssaty Satrapal Com of Cilicia M PLATE III. KIMON'S FACING H EAD OF ARETHUSA, PROTOTYPE: AND COPIES. PLATE IV. 'MEDALLION BY NEW ARTIST JTWO DIAM.S f A Evaenetos, Gold Pen fekon talitron Evaenetos .Gobi Staters Getn Found n r < n '^-s^J. x^-gjr -^.*==r Catania Sir ~2?^ G r^^t Camp Coin Carthaginian Tars os M Gold Pieces Ter-sikorvJ Evaenetos .Earliest Medallion Type. Evaenetos with A on ()!,v Evaeaelos :L(xtest Medallion, with Signature Evametov PLATE V. 'MEDALLIONS'AND GOLD PIECES BY EVAENETOS WITH ILLUSTRATIVE COINS AND GEM. 'Medallion of Evuenetos tt y---:'> A m o s Siculo- Punic Sv rc(cus Kama ririu COINS ! N EVAENETOS EARLIER MANNER PLATE VII. PLATE VIII. MEDALLION' OF KIM ON (TYPE T). ENLARGED TWO DIAMETERS PLATE IX. MEDALLION 1 OF EVAENETOS. ENLARGED TWO DIAMETERS PHRYCILLOS AND EVARCHIDAS SYRACUSE NEW ARTISTS' SIGNATURES ON SICILIAN COINS. Numismatic and other Archaeological Works BY THE SAME AUTHOR. THE "HORSEMEN" OF TARENTTJM : a Contri- bution towards the Numismatic History of Great Greece. With 11 Autotype Plates. 8vo, cloth, 12s. 6d. " This monograph on this particular coinage of Tarentum is one of the most complete and exhaustive of its kind, and moreover illustrates the remarkable advance which has been made of late years in the study of Greek numismatics. " We need scarcely add that monographs of this description are of the highest importance to archaeologists as well as to numismatists. Coins have one special feature above all other objects of antiquity, such as sculpture, terra-cottas, vases, bronzes, and gems, inasmuch as they are capable of being dated often to within a few months of their issue, almost without exception to within a very few years To one important authentic piece of sculpture we have at least five hundred coins which show Greek art in all its phases, from archaism to a condition of perfection , and again downwards in its various stages of degradation. They act, in fact, as guides to the dating of every other class of object, and, as such, archaeologists cannot neglect their study. " The work is well supplied with indices and also with illustrations done by the autotype process, which are of the greatest use in following the learned author's arguments and reasonings "The Athenceum, March 8th, 1890. ON A LATE CELTIC CEMETERY AT AYLES- FOKD, KENT. PART I. The Cemetery and its Contents. II. The Late Celtic Pottery of the Aylesford Urn-field ; its Gaulish Extension and Old Venetian (Illyro- Italic, &c.) Sources. ,, III. The Aylesford Bronzes. ,, IV. General Conclusions as to the Date and Character of the Aylesford Cemetery. (Contains an investiga- tion of the sources of Ancient British Culture.) Reprinted from Archceologia. With 6 Plates and 19 Woodcuta in the Text. Quarto, 10s. 6d. ANTIQUARIAN RESEARCHES IN ILLYRICUM. PARTS I. & II. Contain Researches into the Roman, &c., Remains of Dalmatia. PARTS III. & IV. Explorations of the Roman Sites and Road- lines of the Interior of the Balkan Peninsula: Bosnia, "Old" Serbia, Albania, and N. Macedonia, including Scupi (Uskiip),. the birthplace of Justinian. (This section contains the first archaeological investigation of the Roman Province of Dardania). With Maps showing the ancient Sites and Road-lines, and Fac- similes of Inscriptions, and other illustrations. Reprinted from Archceologia. Quarto, price 18s. Agent BERNAJiD Q.UARITCH, 15, PICCADILLY, LONDON. F F w /r %ojmo-jo^ I %wnn